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HENLEY'S TWENTIETH CENTURY

BOOK OF

RECIPES, FORMULAS
AND PROCESSES

HENLEY'S
-TWENTIETH CENTURY

FORMULAS. RECIPES
AND PROCESSES'

CONTAINING TEN THOUSAND SELECTED HOUSEHOLD AND
WORKSHOP FORMULAS, RECIPES, PROCESSES AND MONEY-
SAVING METHODS FOR THE PRACTICAL USE
OF MANUFACTURERS, MECHANICS, HOUSE-
KEEPERS AND HOME WORKERS

EDITED BY

GARDNER D. HISCOX, M.E.

AUTHOR OF "MECHANICAL MOVEMENTS, POWERS AND DEVICES,"
"COMPRESSED AIR," "GAS, GASOLINE AND

OIL ENGINES," ETC., ETC.

1914 EDITION, REVISED AND ENLARGED

NEW YORK

THE NORMAN W. HENLEY PUBLISHING COMPANY

132 NASSAU STREET
1914

THE NORMAN W. HENLEY PUBLISHING COMPANY
Also, Entered at Stationers' Hall Court, London, England

THE TROW PRESS, NEW YORK

PREFACE

IN compiling this book of formulas, recipes and processes, the Edi-
tor has endeavored to meet the practical requirements of the home and
workshop — the mechanic, the manufacturer, the artisan, the housewife,
and the general home worker.

In addition to exercising the utmost care in selecting his materials
from competent sources, the Editor has also modified formulas which
were obviously ill adapted for his needs, but were valuable if altered.
Processes of questionable merit he has discarded. By adhering to this
plan the Editor trusts that he has succeeded in preparing a repos-
itory of useful knowledge representing the experience of experts in
every branch of practical achievement. Much of the matter has been
specially translated for this work from foreign technological period-
icals and books. In this way the Editor has embodied much practical
information otherwise inaccessible to most English-speaking people.

Each recipe is to be regarded as a basis of experiment, to be modi-
fied to suit the particular purpose in hand, or the peculiar conditions
which may affect the experimenter. Chemicals are not always of uni-
form relative purity and strength-, heat or cold may markedly influence
the result obtained, and lack of skill in the handling of utensils and
instruments may sometimes cause failure. Inasmuch as a particular
formula may not always be applicable, the Editor has thought it ad-
visable to give as many recipes as his space would allow under each
heading. In some instances a series of formulas is given which appar-
ently differ but slightly in their ingredients. This has been done on
the principle that one or more may be chosen for the purpose in hand.

Recognizing the fact that works of a similar character are not un-
known, the Editor has endeavored to present in these pages the most
modern methods and formulas. Naturally, old recipes and so-called
trade secrets which have proven their value by long use are also
included, particularly where no noteworthy advance has been made;
but the primary aim has been to modernize and bring the entire work
up to the present date.

284534 THE EDITOR.

JANUARY,

PARTIAL LIST OF AUTHORITIES CONSULTED

Apothecary, The.
Berliner Drog. Zeitung.
Brass World.

British Journal of Photography..
Chemical News.

Chemiker Zeitung Repertorium.
Chemisch Technische Fabrikant.
Chemische Zeitung.
Chemist-Druggist.
Comptes Rendus.
Cooley's Receipts.
Cosmos.

Dekorationsmaler, Der.
Deutschq Drog. Zeitung.
Deutsche Goldschmiede Zeitung.
Deutsche Handwerk.
Deutsche Maler Zeitung.
Deutsche Topfer und Ziefler Zeitung.
Dingler's Polytechnic Journal.
Drogisten Zeitung.
Druggists' Circular.
English Mechanic.
Farben Zeitung.
Gummi Zeitung.
Journal der Goldschmiedekunst.
Journal of Applied Microscopy.
Journal of the Franklin Institute.
Journal Society of Chemical Industry.
Journal Suisse d'Horlogerie.
Keramische Rundschau.
La Nature.

La Science en Famille.
La Vie Scientifique.
Lack und Farben Industrie.
Legierungen.
Le Genie Civil.
Le Praticien.

Leipziger Farber und Zeugdrucker Zei-
tung.

Maler Zeitung.
Metallarbeiter.
Mining and Scientific Press.
Neueste Erfindungen und Erfahrungen.
Nouvelles Scientifiques.
Oils, Colors, and Drysalteries.
Papier-Zeitung.
Parfumer, Der.
Pharmaceutische Zeitung.
Pharmaceutische Centralhalle.
Pharmaceutische Era.
Pharmaceutische Journal.
Pharmaceutische Journal Formulary.
Photo Times.
Polytech. Centralblatt.
Polyt. Notizblatt.
Popular Science News.
Pottery Gazette.
Practical Druggist.
Revue Chronometrique.
Revue de la Droguerie.
Revue des Produits Chimiques.
Revue Industrielle.
Science, Arts and Nature.
Science Pratique.
Seifensieder Zeitung, Der.
Seifenfabrikant, Der.
Spatula.

Stein der Weisen, Der.
Sudd. Apoth. Zeitung.
Technisches Centralblatt.
Technische Rundschau.
Uhland's Technische Rundschau.
Verzinnen Verzinken Vernickeln, Das.
Werkmeister Zeitung.
Wiener Drogisten Zeitung.
Wiener Gewerbe Zeitung.
Zeitschrift fur die Gesammte Kohlen-
saure Industrie.

HENLEY'S BOOK OF RECIPES

ABRASION REMEDY:

See Cosmetics and Ointments.

ABSINTHE:

See Wines and Liquors.

Acid-Proofing

An Acid-Proof Table Top.—
1.

Copper sulphate 1 part

Potassium chlorate.. .. 1 part
Water 8 parts

Boil until salts are dissolved.

Aniline hydrochlorate. 3 parts
Water 20 parts

Or, if more readily procurable:

Aniline 6 parts

Hydrochloric acid 9 parts

Water 50 parts

By the use of a brush two coats of so-
lution No. 1 are applied while hot; the sec-
ond coat as soon as the first is dry. Then
two coats of solution No. 2, and the wood
allowed to dry thoroughly. Later, a
coat of raw linseed oil is to be applied,
using a cloth instead of a brush, in order
to get a thinner coat of the oil.

A writer in the Journal of Applied
Microscopy states that he has used this
method upon some old laboratory tables
which had been finished in the usual way,
the wood having been filled oiled, and
varnished. After scraping off the varnish
down to the wood, the solutions were ap-
plied, and the result was very satisfac-
tory.

After some experimentations the for-
mula was modified without materially
affecting the cost, and apparently in-
creasing the resistance of the wood to the
action of strong acids and alkalies. The
modified formula follows:

Iron sulphate 4 parts

Copper sulphate 4 parts

Potassium permanga-
nate 8 parts

Water, q. s 100 parts

Aniline. 12 parts

Hydrochloric acid .... 18 parts

Water, q. s 100 parts

Or:

Aniline hydrochlorate 15 parts
Water, q. s 100 parts

Solution No. 2 has not been changed,
except to arrange the parts per hundred.

The method of application is the same,
except that after solution No. 1 has dried,
the excess of the solution which has dried
upon the surface of the wood is thor-
oughly rubbed off before the application
of solution No. 2. The black color does
not appear at once, but usually requires
a few hours before becoming ebony
black. The linseed oil may be diluted
with turpentine without disadvantage,
and after a few applications the surface
will take on a dull and not displeas-
ing polish. The table tops are easily
cleaned by washing with water or suds
after a course of work is completed, and
the application of another coat of oil
puts them in excellent order for another
course of work. Strong acids or alkalies
when spilled, if soon wiped off, have
scarcely a perceptible effect.

A slate or tile top is expensive not only
in its original cost, but also as a destroyer
of glassware. Wood tops when painted,
oiled, or paraffined have objectionable
features, the latter especially in warm
weather. Old table tops, after the paint
or oil is scraped off down to the wood,
take the above finish nearly as well as
the new wood.

To Make Wood Acid- and Chlorine-
Proof. — Take 6 pounds of wood tar and
12 pounds rosin, and melt them together
in an iron kettle, after which stir in 8
pounds finely powdered brick dust.
The damaged parts must be cleaned
perfectly and dried, whereupon they
may be painted over with the warm
preparation or filled up and drawn off,
leaving the film on the inside.

Protecting Cement Against Acid. — A
paint to protect cement against acid is
obtained by mixing pure asbestos, very
finely powdered, with a thick solution of

; ADHESIVES

sodium/ silicate', Tlte" sodium silicate
must be as alkaline as possible. • . ']The
asbestos is first rubbed with a small
quantity of the silicate, until a cake is
obtained and then kept in well-closed
vessels. For use this cake is simply
thinned with a solution of the silicate,
which furnishes a paint two or three ap-
plications of which protect the walls of
reservoirs, etc., against any acid solid
or liquid. This mass may also be em-
ployed for making a coating of sand-
stone.

To Make Corks Impermeable and
Acid-Proof. — Choose your corks care-
fully. Then plunge them into a solution
of gelatin or common glue, 15 parts, in
24 parts of glycerine and 500 parts of
water, heated to 44° or 48° C. (112°-120°
F.), and keep them there for several
hours. On removing the corks, which
should be weighted down in the solution,
dry them in the shade until they are free
from all surplus moisture. They are now
perfectly tight, retaining at the same
time the greater portion of their elasticity
and suppleness. To render them acid-
proof, they should be treated with a
mixture of vaseline, 2 parts, and paraffine
7 parts, heated to about 105° F. This
second operation may be avoided by
adding to the gelatin solution a little
ammonium dichromate and afterwards
exposing the corks to the light.

Lining for Acid Receptacles. — Plates
are formed of 1 part of brown slate, 2
of powdered glass, and 1 of Portland
cement, the whole worked up with sili-
cate of soda, molded and dried. Make
a cement composed of ground slate and
silicate of soda and smear the surface
for the lining; then, while it is still plastic,
apply the plates prepared as above de-
scribed. Instead of these plates, slabs
of glass or porcelain or similar substances
may be employed with the same cement.

ACACIA, MUCILAGE OF :

See Adhesives under Mucilages.

ACID-PROOF GLASS:

See Glass.

ACID-RESISTING PAINT:
See Paint.

ACIDS, SOLDERING:

See Solders.

ACID STAINS FROM THE SKIN, TO
REMOVE :

See Cleaning Preparations and Meth-
ods.

ACID TEST FOR VINEGAR:

See Vinegar.

Adhesives

GLUES :

Manufacture of Glue. — I. — The usual
process of removing the phosphate of
lime from bones for glue-making pur-
poses by means of dilute hydrochloric
acid has the disadvantage that the acid
cannot be regenerated. Attempts to use
sulphurous acid instead have so far
proved unsuccessful, as, even with the
large quantities used, the process is very
slow. According to a German invention
this difficulty with sulphurous acid can
be avoided by using it in aqueous solu-
tion under pressure. The solution of
the lime goes on very rapidly, it is
claimed, and no troublesome precipi-
tation of calcium sulphite takes place.
Both phosphate of lime and sulphurous
acid are regenerated from the lyes by
simple distillation.

II. — Bones may be treated with suc-
cessive quantities of combined sulphur-
ous acid and water, from which the heat
of combination has been previously dis-
sipated, the solution being removed after
each treatment, before the bone salts
dissolved therein precipitate, and before
the temperature rises above 74° F. — •
U. S. Pat. 783,784.

III. — A patent relating to the process
for treating animal sinews, preparatory
for the glue factory, has been granted to
Florsheim, Chicago, and consists in im-
mersing animal sinews successively in
petroleum or benzine to remove the outer
fleshy animal skin; in a hardening or
preserving bath, as boric acid, or alum
or copper sulphate; and in an alkaline
bath to remove fatty matter from the
fibrous part of the sinews. The sinews
are afterwards tanned and disintegrated.

Test for Glue.— The more water the
glue takes up, swelling it, the better it
is. Four ounces of the glue to be exam-
ined are soaked for about 12 hours in a
cool place in 4 pounds of cold water. If
the glue has dissolved after this time, it
is of bad quality and of little value; but if
it is coherent, gelatinous, and weighing
double, it is good; if it weighs up to 16
ounces, it is very good; if as much as
20 ounces, it may be called excellent.

To Prevent Glue from Cracking.— To
prevent glue from cracking, which fre-
quently occurs when glued articles are

ADHESIVES

exposed to the heat of a stove, a little
chloride of potassium is added. This
prevents the glue from becoming dry
enough to crack. Glue thus treated will
adhere to glass, metals, etc., and may
also be used for pasting on labels.

Preventing the Putrefaction of Strong
Glues. — The fatty matter always existing
in small quantity in sheets of ordinary
glue affects the adhesive properties and
facilitates the development of bacteria,
and consequently putrefaction and de-
composition. These inconveniences are
remedied by adding a small quantity of
caustic soda to the dissolved glue. The
soda prevents decomposition absolutely;
with the fatty matter it forms a hard soap
which renders it harmless.

Liquid Glues. —

I. — Glue 3 ounces

Gelatin 3 ounces

Acetic acid 4 ounces

Water 2 ounces

Alum 30 grains

Heat together for 6 hours, skim, and
add:

II. — Alcohol 1 fluidounce

Brown glue, No. 2. . 2 pounds
Sodium carbonate . . 11 ounces

Water 3£ pints

Oil of clove 160 minims

Dissolve the soda in the water, pour
the solution over the dry glue, let stand
over night or till thoroughly soaked and
swelled, then heat carefully on a water
bath until dissolved. When nearly cold
stir in the oil of cloves.

By using white glue, a finer article, fit
for fancy work, may be made.

III. — Dissolve by heating 60 parts of
borax in 420 parts of water, add 480
parts dextrin (pale yellow) and 50 parts
of glucose and heat carefully with con-
tinued stirring, to complete solution;
replace the evaporated water and pour
through flannel.

The glue made in this way remains
clear quite a long time, and possesses
great adhesive power; it also dries very
quickly, but upon careless and extended
heating above 90° C. (194° F.), it is apt
to turn brown and brittle.

IV. — Pour 50 parts of warm (not hot)
water over 50 parts of Cologne glue and
allow to soak over night. Next day the
swelled glue is dissolved with moderate
heat, and if still too thick, a little more
water is added. When this is done, add
from 2£ to 3 parts of crude nitric acid,
stir well, and fill the liquid glue in well-
corked bottles. This is a good liquid
steam glue.

V. — Soak 1 pound of good glue in a
quart of water for a few hours, then melt
the glue by heating it, together with the
unabsorbed water, then stir in J pound
dry white lead, and when that is well
mixed pour in 4 fluidounces of alcohol
and continue the boiling 5 minutes longer.

VI. — Soak 1 pound of good glue in 1 \
pints of cold water for 5 hours, then add
3 ounces of zinc sulphate and 2 fluid-
ounces of hydrochloric acid, and keep
the mixture heated for 10 or 12 hours at
175° to 190° F. The glue remains liquid
and may be used for sticking a variety of
materials.

VII. — A very inexpensive liquid glue
may be prepared by first soaking and
then dissolving gelatin in twice its own
weight of water at a very gentle heat;
then add glacial acetic acid in weight
equal to the weight of the dry gelatin.
It should be remembered, however, that
all acid glues are not generally applica-
ble.

VIII.— Glue 200 parts

Dilute acetic acid. . 400 parts
Dissolve by the aid of heat and add:

Alcohol 25 parts

Alum 5 parts

IX. — Glue 5 parts

Calcium chloride. . 1 part

Water 1 part

X. — Sugar of lead 1 i drachms

Alum 1 i drachms

Gum arabic 2£ drachms

Wheat flour 1 " av. Ib.

Water, q. s.

Dissolve the gum in 2 quarts of warm
water; when cold mix in the flour, and
add the sugar of lead and alum dissolved
in wrater; heat the whole over a slow fire
until it shows signs of ebullition. Let it
cool, and add enough gum water to bring
it to the proper consistence.

XI. — Dilute 1 part of official phos-
phoric acid with 2 parts of water and neu-
tralize the solution with carbonate of
ammonium. Add to the liquid an equal
quantity of water, warm it on a water
bath, and dissolve in it sufficient glue to
form a thick syrupy liquid. Keep in
well-stoppered bottles.

XII. — Dissolve 3 parts of glue in small
pieces in 12 to 15 of saccharate of lime.
By heating, the glue dissolves rapidly
and remains liquid, when cold, without
loss of adhesive power. Any desirable
consistence can be secured by varying
the amount of saccharate of lime. Thick
glue retains its muddy color, while a thin
solution becomes clear on standing.

The saccharate of lime is prepared by

ADHESIVES

dissolving 1 part of sugar in 3 parts of
water, and after adding £ part of the
weight of the sugar of slaked lime, heat-
ing the whole from 149° to 185° F., allow-
ing it to macerate for several days, shaking
it frequently. The solution, which has
the properties of mucilage, is then de-
canted from the sediment.

XIII. — In a solution of borax in water
soak a good quantity of glue until it has
thoroughly imbibed the liquid. Pour off
the surplus solution and then put on
the water bath and melt the glue. Cool
down until the glue begins to set, then
add, drop by drop, with agitation,
enough acetic acid to check the tendency
to solidification. If, after becoming
quite cold, there is still a tendency to
solidification, add a few drops more of
the acid. The liquid should be of the
consistence of ordinary mucilage at all
times.

XIV.— Gelatin 100 parts

Cabinetmakers' glue. 100 parts

Alcohol 25 parts

Alum 2 parts

Acetic acid, 20 per

cent 800 parts

Soak the gelatin and glue with the
acetic acid and heat on a water bath until
fluid; then add the alum and alcohol.

XV.— Glue 10 parts

Water 15 parts

Sodium salicylate. ... 1 part
XVI. — Soak 5 parts of Cologne glue
in an aqueous calcium chloride solution
(1 : 4) and heat on the water bath until
dissolved, replacing the evaporating
water; or slack 100 parts of lime with 150
parts of hot water, dissolve 60 parts of
sugar in 180 parts of water, and add 15
parts of the slacked lime to the solution,
heating the whole to 75° C. (167° F.).
Place aside for a few days, shaking from
time to time. In the clear sugar-lime
solution collected by decanting soak 60
parts of glue and assist the solution by
moderate heating.

XVII.— Molasses, 100 parts, dissolved
in 300 parts of water, 25 parts of quick-
lime (slaked to powder), being then
stirred in arid the mixture heated to 167°
F. on a water bath, with frequent stir-
rings. After settling for a few days a
large portion of the lime will have dis-
solved, and the clear, white, thick solu-
tion, when decanted, behaves like rubber
solution and makes a highly adherent
coating.

XVIII.— Dissolve bone glue, 250
parts, by heating in 1,000 parts of water,
and add to the solution barium perox-
ide 10 parts, sulphuric acid (66° B.) 5

parts, and water 15 parts. Heat for 48
hours on the water bath to 80° C. (176°
F.). Thus a syrupy liquid is obtained,
which is allowed to settle and is then
decanted. This glue has no unpleasant
odor, and does not mold.

JQX. — A glue possessing the adhesive
qualities of ordinary joiners' glue, but
constituting a pale yellow liquid which is
ready for use without requiring heating
and possesses great resistance to damp-
ness, is produced by treating dry casein
with a diluted borax solution or with
enough ammonia solution to cause a
faintly alkaline reaction. The prepara-
tion may be employed alone or mixed
with liquid starch in any proportion.

Glue for Celluloid. — I. — Two parts
shellac, 3 parts spirits of camphor, and 4
parts strong alcohol dissolved in a warm
place, give an excellent gluing agent to fix
wood, tin, and other bodies to celluloid.
The glue must be kept well corked up.

II. — A collodion solution may be used,
or an alcoholic solution of fine celluloid
shavings.

Glue to Form Paper Pads. —

I. — Glue 3^ ounces

Glycerine 8 ounces

Water, a sufficient quantity.
Pour upon the glue more than enough
water to cover it and let stand for several
hours, then decant the greater portion of
the water; apply heat until the glue is
dissolved, and add the glycerin. If the
mixture is too thick, add more water.

II. — Glue 6 ounces

Alum 30 grains

Acetic acid £ ounce

Alcohol 1 1 ounces

Water 6§ ounces

Mix all but the alcohol, digest on a
water bath till the glue is dissolved, allow
to cool and add the alcohol.

III. — Glue 5 ounces

Water 1 ounce

Calcium chloride. . 1 ounce
Dissolve the calcium chloride in the
water, add the glue, macerate until it is
thoroughly softened, and then heat until
completely dissolved.

IV. — Glue 20 ounces

Glycerine 5 ounces

Syrupy glucose. . . 1 ounce

Tannin 50 grains

Cover the glue with cold water, and let
stand over night. In the morning pour
off superfluous water, throw the glue on
muslin, and manipulate so as to get rid
of as much moisture as possible, then put
in a water bath and melt. Add the glyc-

ADHESIVES

erine and syrup, and stir well in. Fi-
nally, dissolve the tannin in the smallest
quantity of water possible and add.
This mixture must be used hot.

V. — Glue 15 ounces

Glycerine 5 ounces

Linseed oil 2 ounces

Sugar 1 ounce

Soak the glue as before, melt, add the
sugar and glycerine, continuing the heat,
and finally add the oil gradually under
constant stirring.

This must be used hot.

Glue for Tablets.—

I. — Glue 3^ ounces

Glycerine 8 ounces

II. — Glue 6 ounces

Alum 30 grains

Acetic acid £ ounce

Alcohol if ounces

Water G| ounces

Mix all but the alcohol, digest on a
water bath till the glue is dissolved, allow
to cool and add the alcohol.

III. — Glue. . .- 5 ounces

Water 1 ounce

Calcium chloride. . . 1 ounce
Dissolve the calcium chloride in the
water, add the glue, macerate until it is
thoroughly softened, and then apply heat
until completely dissolved.

IV. — Glue, 1 pound; glycerine, 4 ounces;
glucose syrup, 2 tablespoonfuls; tannin,
-^o ounce. Use warm, and give an hour
to dry and set on the pads. This can be
colored with any aniline dye.

Marine Glue. — Marine glue is a prod-
uct consisting of shellac and caoutchouc,
which is mixed differently according to
the use for which it is required. The
quantity of benzol used as solvent gov-
erns the hardness or softness of the glue.

I. — One part Para caoutchouc is dis-
solved in 12 parts benzol; 20 parts pow-
dered shellac are added to the solution,
and the mixture is carefully heated.

II. — Stronger glue is obtained by dis-
solving 10 parts good crude caoutchouc
in 120 parts benzine or naphtha which
solution is poured slowly and in a fine
stream into 20 parts asphaltum melted
in a kettle, stirring constantly and heat-
ing. Pour the finished glue, after the
solvent has almost evaporated and the

mass has become quite uniform, into flat
molds, in which it solidifies into very hard
tablets of dark brown or black color.
For use, these glue tablets are first soaked
in boiling water and then heated over a
free flame until the marine glue has be-
come thinly liquid. The pieces to be
glued are also warmed and a very durable
union is obtained.

III. — Cut caoutchouc into small pieces
and dissolve in coal naphtha by heat and
agitation. Add to this solution pow-
dered shellac, and heat the whole, con-
stantly stirring until combination takes
place, then pour it on metal plates to form
sheets. When used it must be heated to
248° F., and applied with a brush.

Water-Proof Glues.— I.— The glue is
put in water till it is soft, and subse-
quently melted in linseed oil at moderate
heat. This glue is affected neither by
water nor by vapors.

II. — Dissolve a small quantity of san-
darac and mastic in a little alcohol, and
add a little turpentine. The solution is
boiled in a kettle over the fire, and an
equal quantity of a strong hot solution of
glue and isinglass is added. Then filter
through a cloth while hot.

III. — Water-proof glue may also be
produced by the simple addition of
bichromate of potassium to the liquid glue
solution, and subsequent exposure to the
air.

IV. — Mix glue as usual, and then add
linseed oil in the proportion of 1 part oil
to 8 parts glue. If it is desired that the
mixture remain liquid, \ ounce of nitric
acid should be added to every pound of
glue. This will also prevent the glue
from souring.

V.— In 1,000 parts of rectified alcohol
dissolve 60 parts of sandarac and as
much mastic whereupon add 60 parts of
white oil of turpentine. Next, prepare a
rather strong glue solution and add about
the like quantity of isinglass, heating the
solution until it commences to boil; then
slowly add the hot glue solution till a thin
paste forms, which can still be filtered
through a cloth. Heat the solution be-
fore use and employ like ordinary glue.
A connection effected with this glue is
not dissolved by cold water and even
resists hot water for a long time.

Vl.— Soak 1,000 parts of Cologne glue
in cold water for 12 hours and in another
vessel for the same length of time 150
parts of isinglass in a mixture of lamp
spirit and water. Then dissolve both
masses together on the water bath in a
suitable vessel, thinning, if necessary,
with some hot water. Next add 100

ADHESIVES

parts of linseed oil varnish and filter hot
through linen.

VII. — Ordinary glue is kept in water
until it swells up without losing its shape.
Thus softened it is placed in an iron
crucible without adding water; then add
linseed oil according to the quantity of
the glue and leave this mixture to boil
over a slow fire until a gelatinous mass
results. Such glue unites materials in a
very durable manner. It adheres firmly
and hardens quickly. Its chief advan-
tage, however, consists in that it neither
absorbs water nor allows it to pass
through, whereby the connecting places
are often destroyed. A little borax will
prevent putrefaction.

VIII. — Bichromate of potassium 40
parts (by weight); gelatin glue, 55 parts;
alum, 5 parts. Dissolve the glue in a
little water and add the bichromate of
potassium and the alum.

IX. — This preparation permits an ab-
solutely permanent gluing of pieces of
cardboard, even when they are moist-
ened by water. Melt together equal
parts of good pitch and gutta-percha; of
this take 9 parts, and add to it 3 parts of
boiled linseed oil and 1 A parts of litharge.
Place this over the fire and stir it till all
the ingredients are intimately mixed.
The mixture may be diluted with a little
benzine or oil of turpentine, and must be
warm when used.

Glue to Fasten Linoleum on Iron
Stairs. — I. — Use a mixture of glue, isin-
glass, and dextrin which, dissolved in
water and heated, is given an admixture
of turpentine. The strips pasted down
must be weighted with boards and brick
on top until the adhesive agent has hard-
ened.

II. — Soak 3 parts of glue in 8 parts
water, add A part hydrochloric acid and
f part zinc vitriol and let this mixture
boil several hours. Coat the floor and
the back of the linoleum with this.
Press the linoleum down uniformly and
firmly and weight it for some time.

Glue for Attaching Gloss to Precious
Metals. — Sandarac varnish, 15 parts;
marine glue, 5 parts; drying oil, 5 parts;
white lead, 5 parts; Spanish white, 5
parts; turpentine, 5 parts. Triturate all to
form a rather homogeneous paste. This
glue becomes very hard and resisting.

Elastic Glue. — Although elastic glue is
less durable than rubber, and will not
stand much heat, yet it is cheaper than
rubber, and is not, like rubber affected
by oil colors. Hence it is largely used
for printing rollers and stamps. For

stamps, good glue is soaked for 24 hours
in soft water. The water is poured off,
and the swollen glue is melted and mixed
with glycerine and a little salicylic acid
and cast into molds. The durability is in-
creased by painting the mass with a solu-
tion of tannin, or, better, of bichromate
of potassium. Printing rollers require
greater firmness and elasticity. The
mass for them once consisted solely of
glue and vinegar, and their manufacture
was very difficult. The use of glycerine
has remedied this, and gives great elas-
ticity without adhesiveness, and has re-
moved the liability of moldiness. Swol-
len glue, which has been superficially
dried, is fused with glycerine and cast
into oil molds. Similar mixtures are
used for casting plaster ornaments, etc.,
and give very sharp casts. A mass con-
sisting of glue and glycerine is poured
over the model in a box. When the mold
is removed, it is painted with plaster out-
side and with boiled oil inside, and can
then be used many times for making re-
productions of the model.

Glue for Paper and Metal. — A glue
which will keep well and adhere tightly
is obtained by diluting 1,000 parts by
weight of potato starch in 1,200 parts by
weight of water and adding 50 parts by
weight of pure nitric acid. The mixture
is kept in a hot place for 48 hours, taking
care to stir frequently. It is afterwards
boiled to a thick and transparent consist-
ency, diluted with water if there is occa-
sion, and then there are added in the
form of a screened powder, 2 parts of sal
ammoniac and 1 part of sulphur flowers.

Glue for Attaching Cloth Strips to Iron.
— Soak 500 parts of Cologne glue in the
evening with clean cold water in a clean
vessel; in the morning pour off the water,
place the softened glue without admix-
ture of water into a clean copper or
enamel receptacle, which is put on a mod-
erate low fire (charcoal or steam appa-
ratus). During the dissolution the mass
must be continually stirred with a wood-
en trowel or spatula. If the glue is too
thick, it is thinned with diluted spirit,
but not with water. As soon as the glue
has reached the boiling point, about 50
parts of linseed oil varnish (boiled oil) is
added to the mass with constant stirring.
When the latter has been stirred up well,
add 50 parts of powdered colophony and
shake it into the mass with stirring,
subsequently removing the glue from the
fire. In order to increase the binding
qualities and to guard against moisture,
it is well still to add about 50 parts of
isinglass, which has been previously cut

ADHESIVES

into narrow strips and placed, well
beaten, in a vessel, into which enough
spirit of wine has been poured to cover
all. When dissolved, the last - named
mass is added to the boiling glue with
constant stirring. The adhesive agent
is now ready for use and is employed hot,
it being advisable to warm the iron also.
Apply glue only to a surface equivalent
to a single strip at a time. The strips are
pressed down with a stiff brush or a wad
of cloth.

Glue for Leather or Cardboard. — To
attach leather to cardboard dissolve
good glue (softened by swelling in water)
with a little turpentine and enough water
in an ordinary glue pot, and then having
made a thick paste with starch in the
proportion of 2 parts by weight, of starch
powder for every 1 part, by weight, of
dry glue, mix the compounds and allow
the mixture to become cold before appli-
cation to the cardboard.

For Wood, Glass, Cardboard, and all
Articles of a Metallic or Mineral Char-
acter.— Take boiled linseed oil 20 parts,
Flemish glue 20 parts, hydrated lime 15
parts, powdered turpentine 5 parts, alum
5 parts acetic acid 5 parts. Dissolve the
glue with the acetic acid, add the alum,
then the hydrated lime, and finally the
turpentine and the boiled linseed oil.
Triturate all well until it forms a homo-
geneous paste and keep in well-closed
flasks. Use like any other glue.

Glue for Uniting Metals with Fabrics.
— Cologne glue of good quality is soaked
and boiled down to the consistency of
that used by cabinetmakers. Then add,
with constant stirring, sifted wood ashes
until a moderately thick, homogeneous
mass results. Use hot and press the
pieces well together during the drying.
For tinfoil, about 2 per cent of boracic
acid should be added instead of the wood
ashes.

Glue or Paste for Making Paper
Boxes. —

Chloral hydrate 5 parts

Gelatin, white 8 parts

Gum arabic 2 parts

Boiling water 30 parts

Mix the chloral, gelatin, and gum
arabic in a porcelain container, pour the
boiling water over the mixture and let
stand for 1 day, giving it a vigorous stir-
ring several times during the day. In
cold weather this is apt to get hard and
stiff, but this may be obviated by stand-
ing the container in warm water for a
few minutes. This paste adheres to any
surface whatever.

Natural Glue for Cementing Porcelain,
Crystal Glass, etc.— The large shell
snails which are found in vineyards have
at the extremity of their body a small,
whitish bladder filled with a substance
of greasy and gelatinous aspect. If this
substance extracted from the bladder is
applied on the fragments of porcelain or
any body whatever, which are juxtaposed
by being made to touch at all parts, they
acquire such adhesion that if one strives
to separate them by a blow, they are
more liable to break at another place
than the cemented seam. It is necessary
to give this glue sufficient time to dry per-
fectly, so as to permit it to acquire the
highest degree of strength and tenacity.

Belt Glue. — A glue for belts can be
prepared as follows: Soak 50 parts of
gelatin in water, pour off the excess of
water, and heat on the water bath. With
good stirring add, first, 5 parts, by
weight, of glycerine, then 10 parts, by
weight, of turpentine, and 5 parts, by
weight, of linseed oil varnish and thin
with water as required. The ends of the
belts to be glued are cut off obliquely and
warmed; then the hot glue is applied, and
the united parts are subjected to strong
pressure, allowing them to dry thvs for
24 hours before the belts are used.

Chromium Glue for Wood, Paper, and
Cloth. — I. — (a) One-half pound strong
glue (any glue if color is immaterial,
white fish glue otherwise); soak 12 hours
in 12 fluidounces of cold water, (b) One-
quarter pound gelatin; soak 2 hours in
12 fluidounces cold water, (c) Two
ounces bichromate of potassium dis-
solved in 8 fluidounces boiling water.
Dissolve (a) after soaking, in a glue pot,
and add (6). After (a) and (fc) are mixed
and dissolved, stir in (c). This glue is
exceedingly strong, and if the article
cemented be exposed to strong sunlight
for 1 hour, the glue becomes perfectly
waterproof. Of course, it is understood
that the exposure to sunlight is to be
made after the glue is thoroughly dry.
The one objectionable feature of this
cement is its color, which is a yellow-
brown. By substituting chrome alum
in place of the bichromate, an olive color
is obtained.

II. — Use a moderately strong gelatin
solution (containing 5 to 10 per cent of
dry gelatin), to which about 1 part of
acid chromate of potassium in solution is
added to every 5 parts of gelatin. This
mixture has the property of becoming in-
soluble by water through the action of
sunlight under partial reduction of the
chromic acid.

ADHESIVES

Fireproof Glue. —

Raw linseed oil 8 parts

Glue or gelatin 1 part

Quicklime 2 parts

Soak the glue or gelatin in the oil for
10 to 12 hours, and then melt it by gently
heating the oil, and when perfectly fluid
stir in the quicklime until the whole
mass is homogeneous, then spread out in
layers to dry gradually, out of the sun's
rays. For use, reheat the glue in a glue
pot in the ordinary way of melting glue.

CEMENTS.

Under this heading will be found only
cements for causing one substance to ad-
here to another. Cements used prima-
rily as fillers, such as dental cements,
will be found under Cements, Putties,
etc.

Cutlers' Cements for Fixing Knife
Blades into Handles. —

I. — Rosin 4 pounds

Beeswax 1 pound

Plaster of Paris or

brickdust 1 pound

II.— Pitch 5 pounds

Wood ashes 1 pound

Tallow 1 pound

III. — Rosin, 12; sulphur flowers, 3;
iron filings, 5. Melt together, fill the
handle while hot, and insert the instru-
ment.

IV. — Plaster of Paris is ordinarily
used for fastening loose handles. It is
made into a moderately thick paste with
water run into the hole in the head of the
pestle, the handle inserted and held in
place till the cement hardens. Some add
sand to the paste, and claim to get better
results.

V. — Boil together 1 part of caustic soda,
3 parts of rosin, and 5 parts of water till
homogeneous and add 4 parts of plaster
of Paris. The paste sets in half an hour
and is but little affected by water.

VI. — 'Equal quantities of gutta percha
and shellac are melted together and well
stirred. This is best done in an iron cap-
sule placed on a sandbath and heated
over a gas furnace or on the top of a
stove. The combination possesses both
hardness and toughness, qualities that
make it particularly desirable in mend-
ing mortars and pestles. In using,
the articles to be cemented should be
warmed to about the melting point of the
mixture and retained in proper position
until cool, when they are ready for use.

VII.— Rosin 600 ) Parts

Sulphur 150 }• by

Iron filings 250 ) weight.

Pour the mixture, hot, into the opening
of the heated handle and shove in the
knife likewise heated.

VIII. — Melt sufficient black rosin, and
incorporate thoroughly with it one-fifth its
weight of very fine silver sand. Make
the pestle hot, pour in a little of the mix-
ture, then force the handle well home,
and set aside for a day before using.

IX. — Make a smooth, moderately soft
paste with litharge and glycerine; fill the
hole in the pestle with the cement, and
firmly press the handle in place, keeping
it under pressure for three or four days.

Cements for Stone. — I. — An excellent
cement for broken marble consists of 4
parts of gypsum and 1 part of finely
powdered gum arabic. Mix intimately.
Then with a cold solution of borax make
into a mortarlike mass. Smear on each
face of the parts to be joined, and fasten
the bits of marble together. In the
course of a few days the cement becomes
very hard and holds very tenaciously.
The object mended should not be touched
for several days. In mending colored
marbles the cement may be given the hue
of the marble by adding the color to the
borax solution.

II. — A cement which dries instanta-
neously, qualifying it for all sorts of re-
pairing and only presenting the disad-
vantage of having to be freshly prepared
each time, notwithstanding any subse-

?uent heating, may be made as follows:
n a metal vessel or iron spoon melt 4 to
5 parts of rosin (or preferably mastic)
and 1 part of beeswax. This mixture
must be applied rapidly it being of ad-
vantage slightly to heat tne surfaces to be
united, which naturally must have been
previously well cleaned.

III.— Slaked lime, 10 parts; chalk, 15
parts; kaolin, 5 parts; mix. and imme-
diately before use stir with a correspond-
ing amount of potash water glass.

IV.— Cement on Marble Slabs.— The
whole marble slab is thoroughly warmed
and laid face down upon a neatly cleaned
planing bench upon which a woolen cloth
is spread so as not to injure the polish of
the slab. Next apply to the slab very
hot, weak glue and quickly sift hot plaster
of Paris on the glue in a thin even layer,
stirring the plaster rapidly into the ap-
plied glue by means of a strong spatula,
so that a uniform glue-plaster coating
is formed on the warm slab. Before this
has time to harden tip the respective piece
of furniture on the slab. The frame, like-
wise warmed, will adhere very firmly to the
slab after two days. Besides, this process
has the advantage of great cleanliness.

ADHESIVES

V. — The following is a recipe used by
marble worKers, and which probably
can be used to advantage: Flour of sul-
phur, 1 part; hydrocnlorate of am-
monia, 2 parts; iron filings, 16 parts.
The above substances must be reduced
to a powder, and securely preserved
in closely stoppered vessels. When the
cement is to be employed, take 20 parts
very fine iron filings and 1 part of the
above powder; mix them together with
enough water to form a manageable
paste. This paste solidifies in 20 days
and becomes as hard as iron. A recipe
for another cement useful for joining
small pieces of marble or alabaster is as
follows: Add £ pint of vinegar to J pint
skimmed milk; mix the curd with the
whites of 5 eggs, well beaten, and suffi-
cient powdered quicklime sifted in with
constant stirring so as to form a paste.
It resists water and a moderate degree of
heat.

VI. — Cement for Iron and Marble. —
For fastening iron to marble or stone a
good cement is made as follows: Thirty
parts plaster of Paris, 10 parts iron filings,
A part sal ammoniac mixed with vinegar
to a fluid paste fresh for use.

Cement -for Sandstones. — One part
sulphur and 1 part rosin are melted
separately; the melted masses are mixed
and 3 parts litharge and 2 parts ground
glass stirred in. The latter ingredients
must be perfectly dry, and have been
well pulverized and mixed previously.

Equally good cement is obtained by
melting together 1 part pitch and iV part
wax, and mixing with 2 parts brickdust.

The stones to be cemented, or be-
tween the joints of which the putty is to
be poured, must be perfectly dry. If
practicable, they should be warmed a
little, and the surfaces to which the putty
is to adhere painted with oil varnish
once or twice. The above two formulae
are of especial value in case the stones
are very much exposed to the heat of the
sun in summer, as well as to cold, rain,
and snow in winter. Experience has
shown that in these instances the above-
mentioned cements give better satisfac-
tion than the other brands of cement.

Cements for Attaching Objects to
Glass.—

Rosin 1 part

Yellow wax 2 parts

Melt together.

To Attach Copper to Glass.— Boil 1
part of caustic soda and 3 parts of co-
lophony in 5 parts of water and mix with
the like quantity of plaster of Paris.

This cement is not attacked by water,
heat, and petroleum. If, in place of the
plaster of Paris, zinc white, white lead,
or slaked lime is used, the cement hard-
ens more slowly.

To Fasten Brass upon Glass. —Boil to-
gether 1 part of caustic soda, 3 parts of
rosin, 3 parts of gypsum, and 5 parts of
water. The cement made in this way
hardens in about half an hour, hence i't
must be applied quickly. During the
preparation it should be stirred con-
stantly. All the ingredients used must
be in a finely powdered state.

Uniting Glass with Horn. — (1) A solu-
tion of 2 parts of gelatin in 20 parts water
is evaporated up to one-sixth of its volume
and J mastic dissolved in ^ spirit added
and some zinc white stirred in. The
putty is applied warm; it dries easily
and can be kept a long time. (2) Mix
gold size with the equal volume of water
glass.

To Cement Glass to Iron. —

I. — Rosin 5 ounces

Yellow wax 1 ounce

Venetian red 1 ounce

Melt the wax and rosin on a water
bath and add, under constant stirring, the
Venetian red previously well dried. Stir
until nearly cool, so as to prevent the Ve-
netian red from settling to the bottom.

II. — Portland cement 2 ounces

Prepared chalk 1 ounce

Fine sand 1 ounce

Solution of sodium silicate
enough to form a semi-
liquid paste.

III. — Litharge 2 parts

White lead 1 part

Work into a pasty condition by using
3 parts boiled linseed oil, 1 part copal
varnish.

Celluloid Cements. — I. — To mend brok-
en draughting triangles and other cellu-
loid articles, use 3 parts alcohol and 4
parts ether mixed together and applied to
the fracture with a brush until the edges
become warm. The edges are then
stuck together, and left to dry for at least
24 hours.

II. — Camphor, 1 part; alcohol, 4 parts.
Dissolve and add equal quantity (by
weight) of shellac to this solution. N

III. — If firmness is desired in putting
celluloid on wood, tin, etc., the following
gluing agent is recommended, viz.: A
compound of 2 parts shellac, 3 parts
spirit of camphor, and 4 parts strong
alcohol.

ADHESIVES

IV. — Shellac 2 ounces

Spirits of camphor. . 2 ounces
Alcohol, 90 per cent. . 6 to 8 ounces
V. — Make a moderately strong glue or
solution of gelatin. In a dark place or
a dark room mix with the above a small
amount of concentrated solution of potas-
sium dichromate. Coat the back of the
label, which must be clean, with a thin
layer of the mixture. Strongly press the
label against the bottle and keep the two
in close contact by tying with twine or
otherwise. Expose to sunlight for some
hours; this causes the cement to be insol-
uble even in hot water.

VI. — Lime av. oz. 1

White of egg av. oz. 2£

Plaster of Paris av. oz. 5|

Water fl. oz. 1

Reduce the lime to a fine powder; mix
it with the white of egg by trituration,
forming a uniform paste. Dilute with
water, rapidly incorporate the plaster of
Paris, and use the cement immediately.
The surfaces to be cemented must first
be moistened with water so that the ce-
ment will readily adhere. The pieces
must be firmly pressed together and kept
in t>his position for about 12 hours.

Cementing Celluloid and Hard-Rubber
Articles. — I. — Celluloid articles can be
mended by making a mixture com-
posed of 3 parts of alcohol and 4 parts of
ether. This mixture should be kept in
a well-corked bottle, and when celluloid
articles are to be mended, the broken
surfaces are painted over with the alcohol
and ether mixture until the surfaces
soften: then press together and bind and
allow to dry for at least 24 hours.

II. — Dissolve 1 part of gum camphor
in 4 parts of alcohol; dissolve an equal
weight of shellac in such strong camphor
solution. The cement is applied warm
and the parts united must not be dis-
turbed until the cement is hard. Hard-
rubber articles are never mended to form
a strong joint.

III. — Melt together equal parts of
gutta percha and real asphaltum. The
cement is applied hot, and the broken
surfaces pressed together and held in
place while cooling.

Sign-Letter Cements.—

I. — Copal varnish 15 parts

Drying oil 5 parts

Turpentine (spirits). 3 parts

Oil of turpentine 2 parts

Liquefied glue 5 parts

Melt all together on a water bath until
well mixed, and then add 10 parts slaked
lime.

II. — Mix 100 parts finely powdered
white litharge with 50 parts dry white
lead, knead together 3 parts linseed oil
varnish and 1 part copal varnish into a
firm dough. Coat the side to be attached
with this, removing the superfluous ce-
ment. It will dry quickly and become
very hard.

III. — Copal varnish 15 parts

Linseed-oil varnish . 5 parts

Raw turpentine 3 parts

Oil of turpentine. ... 2 parts
Carpenters' glue, dis-
solved in water ... 5 parts
Precipitated chalk . . 10 parts

IV. — Mastic gum 1 part

Litharge, lead 2 parts

White lead 1 part

Linseed oil 3 parts

Melt together to a homogeneous mass.
Apply hot. To make a thorough and
reliable job, the letters should be heated
to at least the temperature of the cement.
To Fix Gold Letters, etc., upon Glass.
— I. — The glass must be entirely clean and
polished, and the medium is prepared in
the following manner: One ounce fish
glue or isinglass is dissolved in water
so that the latter covers the glue. When
this is dissolved a quart of rectified spir-
it of wine is added, and enough water is
poured in to make up one-quarter the
whole. The substance must be kept well
corked.

II. — Take i quart of the best rum
and I ounce fish glue, which is dissolved
in the former at a moderate degree of
heat. Then add ? quart distilled water,
and filter through a piece of old linen.
The glass is laid upon a perfectly level
table and is covered with this substance
to the thickness of J inch, using a clean
brush. Seize the gold leaf with a
pointed object and place it smoothly
upon the prepared mass, and it will be
attracted by the glass at once. After 5
minutes hold the glass slightly slanting
so that the superfluous mass can run off,
and leave the plate in this position for 24
hours, when it will be perfectly dry. Now
trace the letters or the design on a piece
of paper, and perforate the lines with a
thick needle, mak:ng the holes -^ inch
apart. Then place the perforated paper
upcwi the surface of the glass, and stamp
the tracery on with powdered chalk. The
paper pattern is then carefully removed,
and the accurate design will remain upon
the gold. The outlines are now filled
out with an oily gold mass, mixed with
a little chrome orange and diluted with
boiled oil or turpentine. When all is
dry the superfluous gold is washed off

ADHESIVES

with water by means of a common rag.
The back of the glass is then painted
with a suitable color.

Attaching Enamel Letters to Glass. —
To affix enamel letters to glass, first
clean the surface of the glass perfectly,
leaving no grease or sticky substance
of any kind adhering to the surface.
Then with a piece of soap sketch the out-
lines of the design. Make the proper
division of the guide lines, and strike off
accurately the position each letter is to
occupy. Then to the back of the letters
apply a cement made as follows: White
lead ground in oil, 2 parts; dry white
lead, 3 parts. Mix to a soft putty con-
sistency with good copal varnish.

With a small knife or spatula apply
the cement to the back of the letters,
observing especial care in getting the
mixture well and uniformly laid around
the inside edges of the letter. In at-
taching ^he letters to the glass make sure
to expel the air from beneath the char-
acters, and to do this, work them up
and down and sidewise. If the weather
be at all warm, support the letters
while drying by pressing tiny beads of
sealing wax against the glass, close to
the under side or bottom of the letters.
With a putty knife, keenly sharpened
on one edge, next remove all the sur-
plus cement. Give the letters a hard,
firm pressure against the glass around
all edges to securely guard against the
disruptive attacks of moisture.

The seepage of moisture beneath the .
surface of the letters is the main cause
of their early detachment from the glass.

The removal of the letters from the
glass may be effected by applying tur-
pentine to the top of the characters,
allowing it to soak down and through
the cement. Oxalic acid applied in the
same way will usually slick the letters
off in a trice.

Cement for Porcelain Letters. — Slake
15 parts of fresh quicklime in 20 parts of
water. Melt 50 parts of caoutchouc and
50 parts of linseed-oil varnish together,
and bring the mixture to a boil. While
boiling, pour the liquid o>n the slaked
lime, little by little, under constant stir-
ring. Pass the mixture, while still hot,
through muslin, to remove any possible
lumps, and let cool. It takes the cement
2 days to set completely, but when dry
it makes a joint that will resist a great
deal of strain. By thinning the mixture
down with oil of turpentine, a brilliant,
powerfully adhesive varnish is obtained.

Water - Glass Cements. — I. — W7ater
<rlass (sodium of potassium silicate), which

is frequently recommended for cement--
ing glass, does not, as is often asserted,
form a vitreous connection between the
joined surfaces; and, in fact, some of
the commercial varieties will not even
dry, but merely form a thick paste,
which has a strong affinity for moisture.
Good 30° B. water glass is, however,
suitable for mending articles that are ex-
posed to heat, and is best applied to sur-
faces that have been gently warmed;
when the pieces are put together they
should be pressed warmly, to expel any
superfluous cement, and then heated
strongly.

To repair cracked glasses or bottles
through which water will leak, water
glasses may be used, the application
being effected in the following easy
manner: The vessel is warmed to induce
rarefaction of the internal air, after
which the mouth is closed, either by a
cork in the case of bottles, or by a piece
of parchment or bladder if a wide-
mouthed vessel is under treatment.

While still hot, the outside of the
crack is covered with a little glass, and
the vessel set aside to cool, whereupon
the difference between the pressure of the
external and internal air will force the
cement into the fissure and close it
completely. All that is then necessary
is to take off the cover and leave the
vessel to warm for a few hours. Sub-
sequently rinse it out with lime water,
followed by clean water, and it will then
hold any liquid, acids and alkaline fluids
alone excepted.

II. — When water glass is brought into
contact with calcium chloride, a cal-
cium silicate is at once formed which
is insoluble in water. It seems possible
that this reaction may be used in bind-
ing together masses of sand, etc. The
process indicated has long been used in
the preservation of stone which has be-
come "weathered." The stone is first
brushed with the water glass and after-
wards with a solution of calcium chlor-
ide. The conditions here are of course
different.

Calcium chloride must riot be con-
founded with the so-called " chloride of
lime " which is a mixture of calcium hy-
pochlorite and other bodies.

To Fasten Paper Tickets to Glass —To
attach paper tickets to glass, the em-
ployment of water glass is efficacious.
Care should be taken to spread this prod-
uct on the glass and not on the paper,
and then to apply the paper dry, which
should be done immediately. When the
solution is dry the paper cannot be de-

ADHES1VES

tached. The silicate should be some-
what diluted. It is spread on the glass
with a rag or a small sponge.

JEWELERS' CEMENTS.

Jewelers and goldsmiths require, for
the cementing of genuine and colored
gems, as well as for the placing of col-
ored folio under certain stones, very
adhesive gluing agents, which must,
however, be colorless. In this respect
these are distinguished chiefly by the
so-called diamond cement and the regu-
lar jewelers' cement. Diamond ce-
ment is much esteemed by jewelers for
cementing precious stones and corals,
but may also be employed with ad-
vantage for laying colored fluxes of
glass on white glass. The diamond
cement is of such a nature as to be able
to remain for some time in contact with
water without becoming soft. It ad-
heres best between glass or between pre-
cious stones. It is composed as follows:
Isinglass 8 parts, gum ammoniac 1 part,
galbanum 1 part, spirit of wine 4 parts.
Soak the isinglass in water with admix-
ture of a little spirit of wine and add the
solution of the gums in the remainder
of the spirit of wine. Before use, heat
the diamond cement a little so as to
soften it. Jewelers' cement is used for
similar purposes as is the diamond ce-
ment, and is prepared from: Isinglass
(dry) 10 parts, mastic varnish 5 parts.
Dissolve the isinglass in very little water,
adding some strong spirit of wine. The
mastic varnish is prepared by pouring
a mixture of highly rectified spirit of
wine and benzine over finely powdered
mastic and dissolving it in the smallest
possible quantity of liquid. The two
solutions of isinglass and mastic are in-
timately ground together in a porcelain
dish.

Armenian Cement. — The celebrated
" Armenian " cement, so called formerly
used by Turkish and Oriental jewelers
generally, for setting precious stones,
" facing diamonds," rubies, etc., is made
as follows:

Mastic gum 10 parts

Isinglass (fish glue) . 20 parts
Gum ammoniac .... 5 parts

Alcohol absolute 60 parts

Alcohol, 50 per cent. . 35 parts

Water 100 parts

Dissolve the mastic in the absolute
alcohol; dissolve, by the aid of gentle
heat, on the water bath, the isinglass in
the water, and add 10 parts of the dilute
alcohol. Now dissolve the ammoniacum
in the residue of the dilute alcohol. Add

the first solution to the second, mix thor-
oughly by agitation and then add the
solution of gum ammoniac and stir well
in. Finally put on the water bath, and
keeping at a moderate heat, evaporate
the whole down to 175 parts.

Cement for Enameled Dials.— The
following is a good cement for enameled
dials, plates, or other pieces: Grind into
a fine powder 2A parts of dammar rosin
and 2i parts of copal, using colorless
pieces if possible. Next add 2 parts
of Venetian turpentine and enough spirit
of wine so that the whole forms a thick
paste. To this grind 3 parts of the finest
zinc white. The mass now has the
consistency of prepared oil paint. To
remove the yellow tinge of the cement
add a trifle of Berlin blue to the zinc
white. Finally, the whole is heated until
the spirit of wine is driven off and a molt-
en mass remains, which is allowed to cool
and is kept for use. Heat the parts to be
cemented.

Watch-Lid Cement.— The hardest ce-
ment for fixing on watch lids is shellac.
If the lids are exceedingly thin the en-
graving will always press through. Be-
fore cementing it on the inside of the lid,
in order not to injure the polish, it is
coated with chalk dissolved in alcohol,
which is first allowed to dry. Next melt
the shellac on the stick, heat the watch
lid and put it on. After the engraving
has been done, simply force the lid off and
'remove the remaining shellac from the
latter by light tapping. If this does not
remove it completely lay the lid in alco-
hol, leaving it therein until all the shel-
lac has dissolved. All that remains to be
done now is to wash out the watch lid.

Jewelers' Glue Cement. — Dissolve on
a water bath 50 parts of fish glue in
a little 95-per-cent alcohol adding 4
parts, by weight, of gum ammoniac.
On the other hand, dissolve 2 parts, by
weight, of mastic in 10 parts, by weight,
of alcohol. Mix these two solutions and
preserve in a well-corked flask. For
use it suffices to soften it on the water
bath.

Casein Cements. —

I. — Borax 5 parts

Water 95 parts

Casein, sufficient quantity.

Dissolve the borax in water and in-
corporate enough casein to produce a
mass of the proper consistency.

II. — The casein is made feebly alka-
line by means of soda or potash lye and

ADHESIVES

then subjected for about 24 hours to a
temperature of 140° F. Next follow
the customary admixture, such as lime
and water glass, and finally, to accom-
plish a quicker resinification, substances
containing tannin are added. For tan-
nic admixtures to the partially disinte-
grated casein, slight quantities — about
1 per cent — of gallic acid, cutch, or
quercitannic acid are employed. The
feebly alkaline casein cement contain-
ing cannic acid is used in the well-known
manner for the gluing together of wood.

For Metals.— Make a paste with 16
ounces casein, 20 ounces slaked lime, and
20 ounces of sand, in water.

For Glass. — I. — Dissolve casein in a
concentrated solution of borax.

II. — Make a paste of casein and
water glass.

Pasteboard and Paper Cement. — I. —
Let pure glue swell in cold water; pour
and press off the excess; put on the
water bath and melt. Paper or other
material cemented with this is then
immediately, before the cement dries,
submitted to the action of formaldehyde
and dried. The cement resists the action
of water, even hot.

II. — Melt together equal parts of
good pitch and gutta percha. To 9
parts of this mass add 3 parts of boiled
linseed oil and ^ part litharge. The
heat is kept up until, with constant
stirring, an intimate union of all the in-
gredients has taken place. The mix-
ture is diluted with a little benzine or
oil of turpentine and applied while still
warm. The cement is waterproof.

III. — The National Druggist says
that experience with pasting or cement-
ing parchment paper seems to show
that about the best agent is casein
cement, made by dissolving casein in
a saturated aqueous solution of borax.

IV. — The following is recommended
for paper boxes:

Chloral hydrate 5 parts

Gelatin, white 8 parts

Gum arabic 2 parts

Boiling water 30 parts

Mix the chloral, gelatin, and gum
arabic in a porcelain container, pour the
boiling water over the mixture and let
stand for 1 day, giving it a vigorous
stirring several times during the day.
In cold weather this is apt to get hard
and stiff, but this may be obviated by
standing the container in warm water
for a few minutes. This paste adheres
to any surface whatever.

Waterproof Cements for Glass, Stone-
ware, and Metal. — I. — Make a paste of
sulphur, sal ammoniac, iron filings, and
boiled oil.

II. — Mix together dry : Whiting, 6
pounds; plaster of Paris, 3 pounds;
sand, 3 pounds; litharge, 3 pounds;
rosin, 1 pound. Make to a paste with
copal varnish.

III. — Make a paste of boiled oil, 6
pounds; copal, 6 pounds; litharge, 2
pounds; white lead, 1 pound.

IV. — Make a paste with boiled oil,
3 pounds; brickdust 2 pounds; dry
slaked lime, 1 pound.

V. — Dissolve 93 ounces of alum and
93 ounces of sugar of lead in water to
concentration. Dissolve separately 152
ounces of gum arabic in 25 gallons of
water, and then stir in 62 i pounds of
flour. Then heat to a uniform paste
with the metallic salts, but take care not
to boil the mass.

VI. — For Iron and Marble to Stand in
Heat. — In 3 pounds of water dissolve
first, 1 pound water glass and then 1
pound of borax. With the solution
make 2 pounds of clay and 1 pound of
barytes, first mixed dry, to a paste.

VII.— Glue to Resist Boiling Water.—
Dissolve separately in water 55 pounds
of glue and a mixture of 40 pounds of
bichromate and 5 pounds of alum. Mix
as wanted.

VIII. (Chinese Glue).— Dissolve shel-
lac in 10 times its weight of ammonia.

IX. — Make a paste of 40 ounces of
dry slaked lime 10 ounces of alum, and
50 ounces of white of egg.

X.— Alcohol 1,000 parts

Sandarac 60 parts

Mastic 60 parts

Turpentine oil 60 parts

Dissolve the gums in the alcohol and
add the oil and stir in. Now prepare
a solution of equal parts of glue and
isinglass, by soaking 125 parts of each
in cold water until it becomes saturated,
pouring and pressing off the residue, and
melting on the water bath. This should
produce a volume of glue nearly equal
to that of the solution of gums. The
latter should, in the meantime, have
been cautiously raised to the boiling
point on the water bath, and then mixed
with the hot glue solution.

It is said that articles united with
this substance will stand the strain of
cold water for an unlimited time, and
it takes hot water even a long time to
affect it.

ADHESiVES

JQ. — Burgundy pitch . 6 parts

Gutta percha 1 part

Pumice stone, in fine

powder 3 parts

Melt the gutta percha very carefully
add the pumice stone, and lastly the
pitch, and stir until homogeneous.

Use while still hot. This cement will
withstand water and dilute mineral
acids.

LEATHER AND RUBBER CEMENTS.

1. — Use a melted mixture of gutta
percha and genuine asphalt, applied
hot. The hard-rubber goods must be
kept pressed together until the cement
has cooled.

II. — A cement which is effective for
cementing rubber to iron and which is
especially valuable for fastening rub-
ber bands to bandsaw wheels is made
as follows: Powdered shellac, 1 part;
strong water of ammonia, 10 parts. Put'
the shellac in the ammonia water and
set it away in a tightly closed jar for
3 or 4 weeks. By that time the mixture
will become a perfectly liquid transpar-
ent mass and is then ready for use.
When applied to rubber the ammonia
softens it, but it quickly evaporates, leav-
ing the rubber in the same condition as
before. The shellac clings to the iron
and thus forms a firm bond between the
iron and the rubber.
III. — Gutta percha white. 1 drachm
Carbon disulphide. . 1 ounce

Dissolve, filter, and add:

India rubber 15 grains

Dissolve.

Cement for Metal on Hard Rubber. —
I. — Soak good Cologne glue and boil down
so as to give it the consistency of joiners'
glue, and add with constant stirring,
enough sifted wood ashes until a homo-
geneous, moderately thick mass results.
Use warm and fit the pieces well together
while drying.

How to Unite Rubber and Leather. —
II. — Roughen both surfaces, the leather
and the rubber, with a sharp glass edge;
apply to both a diluted solution of gutta
percha in carbon bisulphide and let this
solution soak into the material. Then
press upon each surface a skin of gutta
percha fa of an inch in thickness between
rolls. The two surfaces are now united
in a press, which should be warm but not
hot. This method should answer in all
cases in which it is applicable. The
other prescription covers cases in which
a press cannot be used. Cut 30 parts of
rubber into small pieces, and dissolve

it in 140 parts of carbon bisulphide, the
vessel being placed on a water bath of
30° C. (86° F.). Further, melt 10 parts
of rubber with 15 of colophony, and add
35 parts of oil of turpentine. When the
rubber has been completely dissolved,
the two liquids may be mixed. The
resulting cement must be kept well
corked.

To Fasten Rubber to Wood.— I —
Make a cement by macerating virgin

gum rubber, or as pure rubber as can be
ad, cut in small pieces, in just enough
naphtha or gasoline to cover it. Let it
stand in a very tightly corked or sealed
jar for 14 days, or a sufficient time to
become dissolved, shaking the mixture
daily.

II. — Dissolve pulverized gum shellac,
1 ounce, in 9i ounces of strong ammonia.
This of course must be kept tightly
corked. It will not be as clastic as the
first preparation.

III. — Fuse together shellac and gutta
percha in equal weights.

IV. — India rubber 8 ounces

Gutta percha 4 ounces

Isinglass 2 ounces

Bisulphide of carbon 32 ounces

V. — India rubber 5 ounces

Gum mastic 1 ounce

Chloroform 3 ounces

VI. — Gutta percha 16 ounces

India rubber 4 ounces

Pitch 4 ounces

Shellac 1 ounce

Linseed oil 1 ounce

Amalgamate by heat.
VII. — Mix 1 ounce of oil of turpentine
with 10 ounces of bisulphide of carbon in
which as much gutta percha as possible
has been dissolved.

VIII. — Amalgamate by heat:

Gutta percha.'. . . . 100 ounces
Venice turpentine. 80 ounces

Shellac 8 ounces

India rubber 2 ounces

Liquid storax 10 ounces

IX. — Amalgamate by heat:

India rubber 100 ounces

Rosin 15 ounces

Shellac 10 ounces

Then dissolve in bisulphide of carbon.
X. — Make the following solutions sep-
arately and mix:

(a) India rubber 5 ounces

Chloroform 140 ounces

(b) India rubber 5 ounces

Rosin 2 ounces

Venice turpentine. 1 ounce
Oil of turpentine. . 20 ounces

ADHESIVES

Cement for Patching Rubber Boots
and Shoes. —
I. — India rubber, finely

chopped 100 parts

Rosin 15 parts

Shellac. . . . . .. 10 parts

Carbon disulphide,

q. s. to dissolve.

This will not only unite leather to
leather, india rubber, etc., but will unite
rubber to almost any substance.
II. — Caoutchouc, finely cut 4 parts
India rubber, finely

cut ;•••••. 1 part

Carbon disulphide ... 32 parts

Dissolve the caoutchouc in the carbon
disulphide, add the rubber, let macer-
ate a few days, then mash with a palette
knife to a smooth paste. The vessel in
which the solution is made in both
instances above must be kept tightly
closed, and should have frequent agita-
tions.

III.— Take 100 parts of crude rubber
or caoutchouc, cut it up in small bits,
and dissolve it in sufficient carbon bisul-
phide, add to it 15 parts of rosin and
10 parts of gum lac. The user must
not overlook the great inflammability and
exceedingly volatile nature of the carbon
bisulphide.

Tire Cements. —

I. — India rubber 15 grams

Chloroform 2 ounces

Mastic ^ ounce

Mix the india rubber and chloroform
together, and when dissolved, the mastic
is added in powder. It is then allowed
to stand a week or two before using.

II. — The following is recommended as
very good for cementing pneumatic tires to
bicycle wheels:

Shellac 1 ounce

Gutta percha 1 ounce

Sulphur 45 grains

Red lead 45 grains

Melt together the shellac and gutta per-
cha, then add, with constant stirring, the
sulphur and red lead. Use while hot.
III. — Raw gutta percha. . 16 ounces
Carbon bisulphide. 72 ounces
Eau de Cologne. . . . 2§ ounces
This cement is the subject of an Eng-
lish patent and is recommended for
patching cycle and motor tires, insulat-
ing electric wires, etc.

IV. — A good thick shellac varnish with j
which a small amount of castor oil has (
been mixed will be found a very excellent i
bicycle rim cement. The formula rec-
ommended by Edel is as follows:

Shellac 1 pound

Alcohol ] pint

Mix and dissolve, then add:

Castor oil £ ounce

The castor oil prevents the cement
from becoming hard and brittle.

A cement used to fasten bicycle tires
may be made by melting together at a
gentle heat equal parts of gutta percha
and asphalt. Apply hot. Sometimes a
small quantity each of sulphur and red
lead is added (about 1 part of each to 20
parts of cement).

Cements for Leather.—

I. — Gutta percha 20 parts

Syrian asphalt, pow-
dered 20 parts

Carbon disulphide . . 50 parts
Oil of turpentine ... 10 parts
The gutta percha, shredded fine, is
dissolved in the carbon disulphide and
turpentine oil. To the solution add the
asphalt and set away for several days,
or until the asphalt is dissolved. The
cement should have the consistency of
honey. If the preparation is thinner
than this let it stand, open, for a few
days. Articles to be patched should
first be washed with benzine.

II. — Glue 1 ounce

•Starch paste 2 ounces

Turpentine 1 drachm

.Water, a sufficient quantity.
Dissolve the g.'ue in sufficient water
with heat; mix the starch paste with
water; add the turpentine, and finally
mix with the glue while hot.

III. — Soak for one day 1 pound of .com-
mon glue in enough water to cover, and
1 pound of isinglass in ale droppings.
Then mix together and heat gently un-
til boiling. At this paint add a little
Eure tannin and keep boiling for an
our. If the glue and isinglass when
mixed are too thick, add water. This
cement should be used warm and the
jointed leather pressed tightly together
for 12 hours.

IV. — A waterproof cement for leather
caoutchouc, or balata, is prepared by
dissolving gutta percha, caoutchouc,
benzoin, gum lac, mastic, etc., in some
convenient solvent like carbon disul-
phide, chloroform, ether, or alcohol.
The best solvent, however, in the case of
gutta percha, is carbon disulphide and
ether for mastic. The most favorable
proportions are as follows: Gutta percha,
200 to 300 parts to 100 parts of the sol-
vent, and 75 to 85 parts of mastic to 100
parts of ether. From 5 to 8 parts of
the former solution are mixed with 1

ADHESIVES

part of the latter, and the mixture is
then boiled on the water bath, or in a
vessel fitted with a water jacket.

V. — Make a solution of 200 to 300
parts of caoutchouc, gutta percha india
rubber, benzoin, or similar gum, in 1,000
parts of carbon disulphide, chloroform,
ether, or alcohol, and of this add 5 to 8
parts to a solution of mastic (75 to 125
parts) in ether 100 parts, of equal volume
and boil together. Use hot water as the
boiling agent, or boil very cautiously on
the water bath.

VI. — Forty parts of aluminum ace-
tate, 10° B., 10 parts of glue, 10 parts
of rye flour. These materials are either
to be simultaneously mixed and boiled,
or else the glue is to be dissolved in the
aluminum acetate, and the flour stirred
into the solution. This is an excellent
cement for leather, and is used in so-
called art work with leather, and with
leather articles which are made of sev-
eral pieces. It is to be applied warm.

Rubber Cement for Cloth.— The fol-
lowing formulas have been recommended:

I. — Caoutchouc, 5 parts; chloroform,
3 parts. Dissolve and add gum mastic
(powder) 1 part.

II. — Gutta percha, 16 parts; india rub-
ber. 4 parts; pitch, 2 parts; shellac, 1
part; linseed oil, 2 parts. Reduce the
solids to small pieces, melt together with
the oil and mix well.

III. — The following cement for mend-
ing rubber shoes and tires will answer
similar purposes:

Caoutchouc in shavings .. 10 } parts

Rosin 4V by

'Gum turpentine 40 ) weight.

Oil turpentine, enough.

Melt together first the caoutchouc and
rosin, then add the gum turpentine, and
when all is liquefied, add enough of oil
of turpentine to preserve it liquid. A
second solution is prepared by dissolv-
ing together:

Caoutchouc 10 ( p£rts

Chloroform 280 I weight.

For use these two solutions are mixed.
Wash the hole in the rubber shoe
over with the cement, then a piece of
linen dipped in it is placed over it; as
soon as the linen adheres to the sole, the
cement is then applied as thickly as re-
quired.

CEMENTS FOR METALS AND FOR AT-
TACHING VARIOUS SUBSTANCES
TO METALS:
Cements for Iron. — I. — To make a

good cement for iron on iron, make a

thick paste, with water, of powdered!
iron, 60 parts; sal ammoniac, 2 parts,
and sulphur flowers. 1 part. Use while
fresh.

II. — Sulphur flowers, 6 parts; dry
white lead 6 parts, and powdered borax,
1 part. Mix by sifting and keep as a
dry powder in a closed tin box. To use,
make into a thin paste with strong sul-
phuric acid and press together immedi-
ately. This cement will harden in 5
days.

III. — Graphite 50 pounds

Whiting 15 pounds

Litharge 15 pounds

Make to a paste with a boiled oil.
IV. — Make a paste of white lead and
asbestos.

V. — Make a paste of litharge and glyc-
erine. Red lead may be added. This
also does for stone.

VI. — Make a paste of boiled oil of
equal parts of white lead, pipe clay, and
black oxide of manganese.

VII. — Make iron filings to a paste with
water glass.
VIII. — Sal ammoniac. ... 4 ounces

Sulphur 2 ounces

Iron filings 32 ounces

Make as much as is to be used at once
to a paste with a little water. This re-
mark applies to both the following dry
recipes:

IX. — Iron filings 160 ounces

Lime 80 ounces

Red lead 16 ounces

Alum 8 ounces

Sal ammoniac... 2 ounces

X. — Clay 10 ounces

Iron filings 4 ounces

Salt 1 ounce

Borax 1 ounce

Black oxide of

manganese ... 2 ounces
XL— Mix:

Iron filings 180 ounces

Lime 45 ounces

Salt 8 ounces

XIL— Mix:

Iron filings 140 ounces

Hydraulic lime . . 20 ounces

Sand 25 ounces

Sal ammoniac. . . 3 ounces
Either of these last two mixtures is
made into a paste with strong vinegar
just before use.

XIII. — Mix equal weights of zinc
oxide and black oxide of manganese
into a paste with water glass.

XIV. — Copal varnish, 15 parts; hy-
drated lime, 10 parts; glue de nerfs (of
sinews), 5 parts; fat drying oils 5 parts;

ADHESIVES

powdered turpentine, 3 parts; essence of
turpentine, 2 parts. Dissolve the glue
de nerjs on the water bath, add all the
other substances, and triturate inti-
mately.

XV. — Copal varnish, 15 parts; pow-
dered turpentine, 3 parts; essence of tur-
pentine, 2 parts; powdered fish glue, 3
parts; iron filings, 3 parts; ocher, 10
parts.

XVI. — To make a cement for cast iron,
take 16 ounces cast-iron borings; 2 ounces
sal ammoniac, and 1 ounce sulphur. Mix
well and keep dry. When ready to use
take 1 part of this powder to 20 parts of
cast-iron borings and mix thoroughly into
a stiff paste, adding a little water.

XVII.— Litharge 2 parts

Boiled linseed oil 2 parts

White lead 1 part

Copal 1 part

Heat together until of a uniform con-
sistence and apply warm.

XVIII. — A cement for iron which is
said to be perfectly waterproof and fire-
proof is made by working up a mixture
of equal weights of red lead and litharge
with glycerine till the mass is perfectly
homogeneous and has the consistency
of a glazier's putty. This cement is
said to answer well, even for very large
iron vessels, and to be unsurpassable for
stopping up cracks in large iron pans of
steam pipes.

Cement for Metal, Glass, and Porce-
lain.— A soft alloy is prepared by mixing
from 30 to 36 parts of copper precipi-
tated in the form of a fine brown powder,
with sulphuric acid of a specific gravity
of 1.85 in a cast-iron or porcelain mor-
tar and incorporating by stirring with 75
parts of mercury, the acid being after-
wards removed by washing with water.
In from 10 to 14 hours the amalgam be-
comes harder than tin, but when heated to
692° F., it can be kneaded like wax. In
this condition it is applied to the surface
to be cemented, and will fix them firmly
together on cooling.

Dissolve 1 drachm of gum mastic in 3
drachms of spirits of wine. In a sep-
arate vessel containing water soak 3
drachms of isinglass. When thoroughly
soaked take it out of the water and put
it into 5 drachms of spirits of wine. Take
a piece of gum ammoniacum the size of
a large pea and grind it up finely with a
little spirits of wine and isinglass until
it has dissolved. Then mix the whole
together with sufficient heat. It will be
found most convenient to place the
vessel on a hot-water bath. Keep this

cement in a bottle closely stoppered, and
when it is to be used, place it in hot
water until dissolved.

Cements for Fastening Porcelain to
Metal. — I. — Mix equal parts of alcohol
(95 per cent) and water, and make a
paste by incorporating the liquid with
300 parts of finely pulverized chalk and
250 parts of starch.

II. — Mix finely powdered burned lime,
300 parts, with powdered starch, 250
parts, and moisten the mixture with a
compound of equal parts of water and
alcohol of 95 per cent until a paste
results.

III. — Cement or plaster can be used
if the surfaces are sufficiently large;
cement is the better article when the
object may be exposed to moisture or
subjected to much pressure. A process
which can be recommended consists in
mingling equal weights of chalk, brick-
dust, clay, and Romain cement. These
materials, pulverized and sifted are in-
corporated with linseed oil in the pro-
portion of half a kilo of oil to 3 kilos of
the mingled powder. The Romain or
Romanic cement is so designated from
the district in France where the calca-
reous stone from which it is prepared is
found in considerable quantity. Al-
though its adhesive qualities are unques-
tioned, there are undoubtedly American
cements equally as good.

IV.— Acetate of lead, 46 £ parts by
weight; alum, 46 £ parts by weight;
gum arabic, 76 parts by weight; flour,
500 parts by weight; water, 2,000 parts
by weight. Dissolve the acetate of lead
and the alum in a little water; on the
other hand dissolve the gum arabic in
water by pouring, for instance, the 2
liters of boiling water on the gum arabic
reduced to powder. When the gum has
dissolved, add the flower, put all on the
fire, and stir well with a piece of wood;
then add the solution of acetate of lead
and the alum; agitate well so as to pre-
vent any lumps from forming; retire from
the fire before allowing to boil. This
glue is used cold, does not peel off, and
is excellent to make wood, glass, card-
board, etc. adhere to metals.

Cement for Leather and Iron. — To
face a cast-iron pulley with leather apply
acetic acid to the face of the pulley with
a brush, which will roughen it by rusting,
and then when dry apply a cement made
of 1 pound of fish glue and % pound of
common glue, melted in a mixture of
alcohol and water. The leather should
then be placed on the pulley and dried
under pressure.

ADHESIVES

Amber Cements. — I. — To solder to-
gether two pieces of yellow amber,
slightly heat the parts to be united and
moisten them with a solution of caustic
soda; then bring the two pieces together
quickly.

II. — Dissolve in a closed bottle 75
parts of cut-up caoutchouc in 60 parts of
chloroform. Add 15 parts of mastic and
let the mixture stand in the cold until all
has dissolved.

III. — Moisten the pieces to be joined
with caustic potash and press them to-
gether when warm. The union is so
perfect that no trace of the juncture is
visible. A concentrated alcoholic solu-
tion of the rosin over the amber, soluble
in alcohol, is also employed for this pur-
pose. Another medium is a solution
of hard and very finely powdered copal
in pure sulphuric ether. Coat both
fractures, previously well cleaned, with
this solution and endeavor to combine
them intimately by tying or pressing.

IV. — In 30 parts by weight of copal
dissolve 30 parts by weight of alumina
by means of a water bath. Bathe the
surface to be cemented with this gelat-
inous liquid, but very slightly. Unite
the fractures and press them together
firmly until the mixture is dry.

Acid -Proof Cements for Stoneware
and Glass. — I. — Mix with the aid of heat
equal weights of pitch, rosin, and plaster
of Paris.

II. — Mix silicate of soda to a paste
with ground glass.

III. — Mix boiled oil to a paste with
china clay.

IV. — Mix coal tar to a paste with
pipe clay.

V. — Mix boiled oil to a paste with
quicklime.

VI.— Mix with the aid of heat: Sul-
phur, 100 pounds; tallow, 2 pounds;
rosin, 2 pounds. Thicken with ground
glass.

VII.— Mix with the aid of heat:
Rosin, 2 pounds; sulphur, 2 pounds;
brickdust, 4 pounds.

VIII.— Mix with the aid of heat 2
pounds of india rubber and 4 pounds of
boiled oil. Thicken with 12 pounds of
pipe clay.

IX. — Fuse 100 pounds of india rub-
ber with 7 pounds of tallow. Then
make to a paste with dry slaked lime and
finally add 20 pounds of red lead.

X. — Mix with the aid of heat: Rosin,
24 pounds; red ocher, 8 pounds; boiled
oil, 2 pounds; plaster of Paris, 4 pounds.

Acid-Proof Cement for Wood, Metals,
etc.—
I. — Powdered asbestos ... 2 parts

Ground baryta 1 part

Sodium water-glass so-
lution 2 parts

Mix.

II. — To withstand hot nitric acid the
following is used:

Sodium water-glass so-
lution 2 parts

Sand 1 part

Asbestos 1 part

Mix.

III. — Asbestos 2 parts

Sulphate of barium. . . 3 parts
Silicate of sodium .... 2 parts
By mixing these ingredients a cement
strong enough to resist the strongest
nitric acid will be obtained.

IV. — If hot acids are dealt with, the
following mixture will be found to possess
still more resistant powers:
Silicate of sodium (50°

Baume) 2 parts

Fine sand 1 part

Asbestos 1 part

Both these cements take a few hours
to set. If the cement is wanted to set
at once, use silicate of potassium, instead
of silicate of sodium. This mixture will
be instantly effective and possesses the
same power of resistance as the other.

Directions for Repairing Broken Glass,
Porcelain, Bric-a-Brac. — Broken glass,
china, bric-a-brac, and picture frames,
not to name casts, require each a differ-
ent cement — in fact, several different
cements. Glass may be beautifully
mended to look at, but seldom so as to
be safely used. For clear glass the best
cement is isinglass dissolved in gin. Put
2 ounces of isinglass in a clean, wide-
mouthed bottle, add half a pint of gin,
and set in the sun until dissolved. Shake
well every day, and before using strain
through double lawn, squeezing very
gently.

Spread a white cloth over the mend-
ing table and supply it with plenty of
clean linen rags, strong rubber bands,
and narrow white tape, also a basin of
tepid water and a clean soft towel. Wash
the broken glass very clean, especially
along the break, but take care not to
chip it further. Wet both broken edges
well with the glue, using a camel's-hair
pencil. Fit the break to a nicety, then
slip on rubber bands length- and cross-
wise, every way they will hold. If they
will not hold true as upon a stemmed

ADHESIVES

thing, a vase or jug or scent bottle,
string half a dozen bands of the same
size and strength upon a bit of tape, and
tie the tape about neck or base before
beginning the gluing. After the parts
are joined slip another tape through the
same bands and tie it above the fracture;
thus with all their strength the bands

Eull the break together. The bands can
e used thus on casts of china — in fact,
to hold anything mendable. In glass
mending the greater the pressure the
better — if only it stops short of the break-
ing point. Properly made the isinglass
cement is as clear as water. When the
pieces fit true one on the other the break
should be hardly visible, if the pressure
has been great enough to force out the
tiny bubbles, which otherwise refract
the light and make the line of cleavage
distressingly apparent. Mended glass
may be used to hold dry things — as rose
leaves, sachets, violet powder, even can-
dies and fruits. But it will not bear
to have any sort of liquid left standing
in it, nor to be washed beyond a quick
rinsing in tepid water. In wriping always
use a very soft towel, and pat the vessel
dry with due regard to its infirmities.

Mend a lamp loose in the collar with
sifted plaster of Paris mixed to a very
soft paste with beaten white of egg.
Have everything ready before wetting
up the plaster, and work quickly so it
may set in place. With several lamps to
mend wet enough plaster for one at a
time. It takes less than 5 minutes to
set, and is utterly worthless if one tries
working it over. Metal work apart
from the glass needs the soldering iron.
Dust the break well with powdered rosin,
tie the parts firmly together, lay the stick
of solder above the break, and fetch the
iron down on it lightly but firmly. When
the solder cools, remove the melted rosin
with a cloth dipped in alcohol.

Since breakables have so unhappy a
knack of fracturing themselves in such
fashion they cannot possibly stand up-
right, one needs a sand box. It is only
a box of handy size with 8 inches of
clean, coarse sand in the bottom. Along
with it there should be some small leaden
weights, with rings cast in them, run-
ning from an ounce to a quarter pound.
Two of each weight are needed. In use,
tapes are tied to the rings, and the pair of
weights swung outside the edges of the
box, so as to press in place the upper
part of a broken thing to which the tapes
have been fastened.

Set broken platters on edge in the sand
box with the break up. The sand will
hold them firm, and the broken bit can

be slapped on. It is the same with
plates and saucers. None of these com-
monly requires weighting. But very
fine pieces where an invisible seam is
wanted should be held firm until partly
set, then have the pair of heaviest weights
accurately balanced across the broken
piece. The weights are also very useful
to prop and stay topheavy articles and
balance them so they shall not get out
of kilter. A cup broken, as is so com-
mon with cups, can have the tape passed
around it, crossing inside the handle,
then be set firmly in the sand, face down,
and be held by the hanging weights
pulling one against the other.

The most dependable cement for china
is pure white lead, ground in linseed oil,
so thick it will barely spread smoothly
with a knife. Given time enough to
harden (some 3 months), it makes a seam
practically indestructible. The objec-
tion to it is that it always shows in a
staring white line. A better cement for
fine china is white of egg and plaster. Sift
the plaster three times and tie a generous
pinch of it loosely in mosquito netting.
Then beat the egg until it will stick to
the plaster. Have the broken egg very
clean, cover both with the beaten egg,
dust well with the plaster, fit together at
once, tie, using rubber bands if possible,
wrap loosely in very soft tissue paper,
and bury head and ears in the sand box,
taking care that the break lies so that
the sand will hold it together. Leave in
the box 24 hours. After a week the su-
perfluous plaster may be gently scraped
away.

General Formulas for Cements for
Repairing Porcelain, Glassware, Crock-
ery, Plaster, and Meerschaum. — I. —
An excellent cement for joining broken
crockery and similar small articles can
be made by melting 4 or 5 parts of rosin
(or, better still, gum mastic) with 1 part
of beeswax in an iron spoon or similar
vessel. Apply while hot. It will not
stand great heat.

II. — An excellent cement for porcelain
and stoneware is obtained by mixing 20
parts of fish glue with an equal weight
of crystallizable acetic acid and evapo-
rate the mixture carefully to a syrupy
consistency so that it forms a gelatinous
mass on cooling. For use the cement
thus obtained is made liquid again by
heating and applied to the fracture with
a brush. The pieces should now be
pressed firmly together, by winding a
twine tightly around them, until the
cement has hardened.

III. — For luting vessels made of glass,

ADHESIVES

porcelain, etc., which are to be used to
hold strong acids, a mixture of asbestos
powder, water glass, and an indifferent pow-
der (permanent white, sand, etc.) is rec-
ommended. To begin with, asbestos
powder is made into a pulp with three
or four times the quantity (weight) of a
solution of soda water glass (of 30°
B.). The same is exceedingly fat and
plastic, but is not very well suited for
working, as it shrinks too much and
cracks when drying. By an addition of
fine writing sand of the same weight
as the asbestos used, the mass can be
made less fat, so as to obviate shrinking,
without detracting from the plasticity.
Small vessels were molded from it and
dried in the air, to be tested afterwards.
Put in water, the hardened mass becomes
soft again and falls apart. Brought into
contact, however, with very strong min-
eral acids, it becomes even firmer and
withstands the liquid perfectly. Con-
centrated nitric acid was kept in such
small vessels without the mass being
visibly attacked or anything penetrating
it. The action of the acid manifestly
has the effect that silicic acid is set free
from the water glass in excess, which
clogs up the pores entirely and con-
tributes to the lutation. Later on, the
mass cannot be dissolved by pure water
any more. The mass is also highly fire-
proof. One of the molded bodies can
be kept glowing in a Bunsen gas flame
for about half a day after treatment with
acid, without slagging in the least. For
many purposes it ought to be welcome
to have such a mass at hand. It cannot
be kept ready for use, however, as it
hardens a few hours after being pre-
pared; if potash water glass is used, in-
stead of the soda 'iomposition, this in-
duration takes place still more quickly.

IV. — Cement for Glass, Porcelain, etc.
Isinglass (fish glue) . . 50 parts

Gum ammoniac 4 parts

Gum mastic 2 parts

Alcohol, 95 per cent . . 10 parts
Water, q. s.

Soak the isinglass in cold water over
night, or until it has become swollen and
soft throughout. In the morning throw
off any superfluous fluid and throw the
isinglass on a clean towel or other coarse
cloth, and hang it up in such a way that
any free residual water will drain away.
Upon doing this thoroughly depends, in
a great measure, the strengtn of the
cement. When the gelatin has become
thoroughly drained put it into a flask
or other container, place it in the water
bath and heat carefully until it becomes

fluid, being careful not to let it come to
a boil, as this injures its adhesive prop-
erties (the same may be said in regard
to glues and gelatins of all kinds). Dis-
solve the gums in the alcohol and add
the solution to the gelatin after remov-
ing the same from the water bath, and
letting it cool down to about 160° F.
Stir well together or mix by agitation.

The following precautions must be
observed: 1. Both surfaces to be joined
must be absolutely clean, free from dust,
dirt, grease, etc. 2. Where the cement
is one that requires the application of
heat before use, the objects to be united
should also be heated to a point at least
as high as the melting point of the cement.
Otherwise, the cement on application is
chilled and consequently fails to make a
lasting joint. 3. The thinner the layer
of cement the stronger the joint; avoid,
therefore, using too much of the binding
material. Cover both surfaces to be
united, coapt them exactly, and press
together as closely as possible. In this
manner the thinnest possible layer is
secured. 4. Bind the parts securely to-
gether, and let remain without loosening
or attempting to use the article for 2 or
3 days or longer. A liquid cement ac-
quires its full strength only after evapor-
ation of the fluids used as solvents, and
this can occur only from the infinitesimal
line of exposed surface.

V. — Liquid Porcelain Cement. — Fish
glue, 20 parts; glass acetic acid, 20 parts;
heat together until the mass gelatinizes
on cooling.

VI. — Take 1 ounce of Russian isin-
glass, cut in small pieces, and bruise
well; then add 6 ounces of warm water,
and leave it in a warm place for from
24 to 48 hours. Evaporate the re-
sulting solution to about 3 ounces.
Next dissolve ^ ounce of mastic in 4
ounces of alcohol, and add the mastic
solution to the isinglass in small quan-
tities at a time, continuing the heat and
stirring well. While still hot strain the
liquid through muslin.

VII. — For optical glasses, Canada bal-
sam is employed, the two pieces being firm-
ly pressed together. After a while, espe-
cially by humidity, punctures will form,
and the glass is separated by a mist of
varying reflexes, while in certain climates
the heat will melt the balsam. For all
other glass articles which require only
simple treatment, such as knobs of covers,
plates, etc., silicate of potash is excel-
lent.

VIII. — Glass Cement.— Dissolve in 150
parts of acetic acid of 96 per cent, 100

ADHESIVES

parts of gelatin by the use of heat, and
add ammonium bichromate, 5 parts.
This glue must be kept away from the
light.

IX.— White glue 10 parts

Potassium bichromate 2 parts
Water 100 parts

The glue is dissolved in a portion of
the water by the aid of heat, the bichro-
mate in the remainder, and the liquids
mixed, the mixing being done in a feebly
lighted place, and the mixture is then
kept in the dark. It is applied in feeble
light, being reliquefied by gentle heat,
and the glass, the fractured pieces being
tightly clamped together, is then exposed
to a strong light for some time. By this
exposure the cement becomes insoluble.
This is waterproof cement for glass.

X. — Diamond Glass Cement. — Dis-
solve 100 parts of fish glue in 150 parts
of 90 per cent alcohol and add, with con-
stant stirring, 200 parts of powdered
rosin. This cement must be preserved
in absolutely tight bottles, as it solidifies
very quickly.

XI — To unite objects of crystal dis-
solve 8 parts of caoutchouc and 100 parts
of gum mastic in 600 parts of chloro-
form. Set aside, hermetically closed,
for 8 days; then apply with a brush,
cold.

XII. — To make a transparent cement
for glass, digest together for a week in
the cold 1 ounce of india rubber, 67
ounces of chloroform, and 40 ounces of
mastic.

XIII. — A mixture of traumaticin, a
solution of caoutchouc in chloroform,
and a concentrated solution of water
glass make a capital cement for unit-
ing articles of glass. Not only is the
joint very strong, but it is transparent.
Neither changes of temperature nor
moisture affect the cement.

XIV. — A transparent cement for por-
celain is prepared by dissolving 75 parts
of india rubber, cut into small pieces,
in a bottle containing 60 parts chloro-
form; to this add 15 parts green mastic.
Let the bottle stand in the cold until the
ingredients have become thoroughly dis-
solved.

XV. — Some preparations resist the ac-
tion of heat and moisture a short time,
but generally yield very quickly. The
following cement for glass has proven
most resistant to liquids and heat:
Silver litharge .... 1,000 parts

White lead 50 parts

Boiled linseed oil. . 3 parts

Copal varnish .... 1 part

Mix the lead and litharge thoroughly,
and the oil and copal in the same man-
ner, and preserve separately. When
needed for use, mix in the proportions
indicated (150 parts of the powder to 4
parts of the liquid) and knead well to-
gether. Apply to the edges of the glass,
bind the broken parts together, and let
stand for from 24 to 48 hours.

XVI. — To reunite plaster articles dis-
solve small pieces of celluloid in ether;
in a quarter of an hour decant, and use
the pasty deposit which remains for
smearing the edges of the articles. It
dries rapidly and is insoluble in water.

XVII.— To Mend Wedgwood Mortars.
— It is easy enough to mend mortars so
that they may be used for making emul-
sions and other light work which does
not tax their strength too much. But
a mended mortar will hardly be able to
stand the force required for powdering
hard substances. A good cement for
mending mortars is the following:

a. — Glass flour elutriated. 10 parts
Fluorspar, powdered

and elutriated 20 parts

Silicate of soda 60 parts

Both glass and fluorspar must be in
the finest possible condition, which is
best done by shaking each in fine pow-
der, with water allowing the coarser
particles to deposit, and then to pour off
the remainder, which holds the finest
particles in suspension. The mixture
must be made very rapidly by quick
stirring, and when thoroughly mixed
must be at once applied. This is said
to yield an excellent cement.

b. — Freshly burnt plaster

of Paris 5 parts

Freshly burnt lime .... 1 part
White of egg, sufficient.

Reduce the first two ingredients to a
very fine powder and mix them well;
moisten the two surfaces to be united with
a small quantity of white of egg to make
them adhesive; then mix the powder very
rapidly with the white of egg and apply
the mixture to the broken surfaces. If
they are large, two persons should do this,
each applying the cement to one portion.
The pieces are then firmly pressed to-
gether and left undisturbed for several
da.ys. The less cement is used the better
will the articles hold together.

c. — If there is no objection to dark-
colored cement, the very best that can
be used is probably marine glue. This
is made thus: Ten parts of caoutchouc or
india rubber are dissolved in 120 parts
of benzine or petroleum naphtha, with

ADHESIVES

the aid of a gentle heat. When the so-
lution is complete, which sometimes
laquires from 10 to 14 days, 20 parts of
asphalt are melted in an iron vessel and
the caoutchouc solution is poured in very
slowly in a fine stream and under con-
tinued heating, until the mass has be-
come homogeneous and nearly all the
solvent has been driven off. It is then
poured out and cast into greased tin
molds. It forms dark brown or black
cakes, which are very hard to break.
This cement requires considerable heat
to melt it; and to prevent it from being
burnt it is best to heat a capsule contain-
ing a piece of it first on a water bath until
the cake softens and begins to be liquid.
It is then carefully wiped dry and heated
over a naked flame, under constant stir-
ring, up to about 300° F. The edges of
the article to be mended should, if possi-
ble, also be heated to at least 212° F.,
so as to permit the cement to be ap-
plied at leisure and with care. The
thinner the cement is applied the better
it binds.

Meerschaum Cements. — I. — If the ma-
terial is genuine (natural) meerschaum
a lasting joint can be made between the
parts by proceeding as follows: Clean a
clove or two of garlic (the fresher the
better) by removing all the outside hull
of skin; throw into a little mortar and
mash to a paste. Rub this paste over
each surface to be united and join quick-
ly. Bring the parts as closely together
as possible and fasten in this position.
Have ready some boiling fresh milk;
place the article in it and continue the
boiling for 30 minutes. Remove and
let cool slowly. If properly done, this
makes a joint that will stand any ordi-
nary treatment, and is nearly invisible.
For composition, use a cement made of
quicklime, rubbed to a thick cream with
egg albumen.

II. — Mix very fine meerschaum shay-
ings with albumen or dissolve casein in
water glass, stir finely powdered magne-
sia into the mass, and use the cement
at once. This hardens quickly.

Asbestos Cement. — Ground asbestos
may be made into a cement which will
stand a high degree of heat by simply
mixing it with a solution of sodium sili-
cate. By subsequent treatment with a
solution of calcium chloride the mass
may be made insoluble, silicate of cal-
cium being formed.

A cement said to stand a high degree
of heat and to be suitable for cementing
glass, porcelain, or other vessels intended
to hold corrosive acids, is this one:

I. — Asbestos 2 parts

Barium sulphate 3 parts

Sodium silicate 2 parts

By mixing these ingredients a cement
strong enough to resist the strongest
nitric acid will be obtained. If hot acids
are dealt with, the following mixture will
be found to possess still more resistant
powers :

II. — Sodium silicate 2 parts

Fine sand 1 part

Asbestos powder 1 part

Both these cements take a few hours
to set. If the cement is wanted to set at
once, use potassium silicate instead of
sodium silicate. This mixture will be
instantly effective, and possesses the
same power of resistance as the other.

Parisian Cement. — Mix 1 part of
finely ground glass powder, obtained
by levigation, with 3 parts of finely pow-
dered zinc oxide rendered perfectly free
from carbonic acid by calcination. Be-
sides prepare a solution of 1 part, by
weight, of borax in a very small quantity
of hot water and mix this with 50 parts
of a highly concentrated zinc chloride
solution of 1.5 to 1.6 specific gravity.
As is well known the mixture of this
powder with the liquid into a soft uni-
form paste is accomplished only imme-
diately before use. The induration to
a stonelike mass takes place within a
few minutes, the admixture of borax
retarding the solidification somewhat.
The pure white color of the powder may
be tinted with ocher, manganese, etc.,
according to the shade desired.

Strong Cement. — Pour over well-
washed and cleaned casein 12| parts of
boiled linseed oil and the same amount
of castor oil. Boil. Stir actively and
add a small amount of a saturated aque-
ous solution of alum; remove from the
fire and set aside. After a while a milky
looking fluid will separate and rise. This
should be poured off. To the residue
add 120 parts of rock candy syrup and
6 parts of dextrin.

A Cheap and Excellent Cement. — A
cheap and excellent cement, insoluble
after drying in water, petroleum, oils,
carbon disulphide, etc., very hard when
dry and of very considerable tensile
strength, is composed of casein and
some tannic-acid compound, as, for in-
stance, calcium tannate, and is prepared
as follows:

First, a tannin solution is prepared
either by dissolving a tannin salt, or by
extraction from vegetable sources (as
barks from certain trees, etc.), to which

ADHESIVES

is added clear lime water (obtained by
filtering milk of lime, or by letting the
milk stand until the lime subsides) until
no further precipitation occurs, and red
litmus paper plunged in the fluid is
turned blue. The liquid is now sepa-
rated from its precipitate, either by de-
cantation or otherwise, and the precipi-
tate is dried. In operating with large
quantities of the substance, this is done
by passing a stream of atmospheric
air through the same. The lime tan-
nate obtained thus is then mixed with
casein in proportions running from 1 : 1
up to 1 : 10, and the mixture, thoroughly
dried, is milled into the consistency of the
finest powder. This powder has now
only to be mixed with water to be ready
for use, the consistency of the prepara-
tion depending upon the use to which
it is to be put.

Universal Cement. — Take gum arable,
100 parts, by weight; starch, 75 parts, by
weight; white sugar, 21 parts, by weight;
camphor, 4 parts, by weight. Dissolve
the gum arabic in a little water; also
dissolve the starch in a little water. Mix
and add the sugar and camphor. Boil
on the water bath until a paste is formed
which, on coating, will thicken.

Cement for Ivory. — Melt together
equal parts of gutta percha and ordinary

Eitch. The pieces to be united have to
e warmed.

Cement for Belts.— Mix 50 parts, by
weight, of fish glue with equal parts of
whey and acetic acid. Then add 50
parts, by weight, of garlic in paste form
and boil the whole on the water bath.
At the same time make a solution of
100 parts, by weight, of gelatin in the
same quantity of whey, and mix both
liquids. To the whole add, finally, 50
parts, by weight, of 90-per-cent alcohol
and, after filtration, a cement is ob-
tained which can be readily applied with
a brush and possesses extraordinary
binding qualities.

Cement for Chemical Apparatus. —
Melt together 20 parts of gutta percha,
10 parts of yellow wax, and 30 parts of
shellac.

Size Over Portland Cement. — The
best size to use on Portland cement
molding for wall paper would ordinarily
be glue and alum size put on thin and
warm, made in proportion of ^ pound
of glue and same weight of alum dis-
solved in separate pails, then poured to-
gether.

Aquarium Cements. —

I. — Litharge 3 ounces

Fine white sand ... 3 ounces
Plaster of Paris .... 3 ounces
Rosin, in fine pow-
der 1 ounce

Linseed oil, enough.
Drier, enough.

Mix the first three ingredients, add
sufficient linseed oil to make a homogene-
ous paste, and then add a small quantity
of drier. ^This should stand a few hours
before it is used. It is said that glass
joined to iron with this cement will
break before it will come loose.

II. — Litharge 1 ounce

Fine white sand. ... 1 ounce
Plaster of Paris. ... 1 ounce
Manganese borate. 20 grains
Rosin, in fine pow-
der 3£ pounds

Linseed varnish oil,
enough.

III. — Take equal parts of flowers of
sulphur, ammonium chloride, and iron
filings, and mix thoroughly with boiled
linseed oil. Finally, add enough white
lead to form a thin paste.
IV. — Powdered graphite. 6 parts

Slaked lime 3 parts

Barium sulphate. . . 8 parts
Linseed varnish oil. 7 parts
V. — Simply mix equal parts of white
and red lead with a little kettle-boiled
linseed oil.

Substitute for Cement on Grinder
Disks. — A good substitute in place of
glue or various kinds of cement for fast-
ening emery cloth to the disks of grind-
ers of the Gardner type is to heat or warm
the disk and apply a thin coating of
beeswax; then put the emery cloth in
place and allow to set and cool under
pressure.

Knpckenplombe. — If 1 part of thymol
be mixed with 2 parts of ipdoform we
obtain a substance that retains its fluid-
ity down to 72° C. (161.6° F.). If the
temperature be carried down to 60° C.
(140° F.) it suddenly becomes solid and
hard. If, in its liquid condition, this
substance be mixed intimately with an
equal quantity of calcined bone, it forms
a cement that can be molded or kneaded
into any shape, that, at the temperature
of the body (98° F.), becomes as hard as
stone, a fact that suggests many useful
purposes to which the mixture may be
put.

Cement for General Use. — Take gum
arabic, 100 parts, by weight; starch, 75

ADHESIVES

parts by weight; white sugar, 21 parts, by
weight; camphor, 4 parts, by weight.
Dissolve the gum arable in a little water.
On the other hand, dissolve the starch
also in some water. When this is done
add the sugar and the camphor and put
in a water bath. Boil until a paste is
formed, which must be rather thin, be-
cause it will thicken on cooling.

Strong Cement. — Pour over well-
washed and cleaned casein 12 A parts
of boiled linseed oil and the same amount
of castor oil, put on the fire and bring
to a boil; stir actively and add a small
amount of a saturated aqueous solution
of alum; remove from the fire and set
aside. After standing a while a milky-
looking fluid will separate at the bottom
and rise to the top. This should be
poured off and to the residue add 120
parts of rock-candy syrup and 6 parts of
dextrine.

Syndeticon. — 1. — Slake 100 parts of
burnt lime with 50 parts of water> pour
off the supernatant water; next, dissolve
60 parts of lump sugar in 160 parts of
water, add to the solution 15 parts of the
slaked lime, heat to 70° or 80° C. (158° to
176° F.), and set aside shaking fre-
quently. Finally dissolve 50 to 60 parts
of genuine Cologne glue in 250 parts of
the clear solution.

II. — A solution of 10 parts gum ara-
bic and 30 parts of sugar in 100 parts of
soda water glass.

III. — A hot solution of 50 parts of
Cologne glue in 60 parts of a 20-per-cent
aqueous calcium-chloride solution.

IV. — A solution of 50 parts of Co-
logne glue in 60 parts of acetic acid.

V. — Soak isinglass (fish bladder) in
acetic acid of 70 per cent until it swells up,
then rub it up, adding a little water dur-
ing the process.

"Shio Liao." — Under this name the
Chinese manufacture an excellent ce-
ment which takes the place of glue, and
with which gypsum, marble, porcelain,
stone, and stoneware can be cemented.
It consists of the following parts (by
weight): Slaked powdered lime. 54
parts; powdered alum, 6 parts; and
iresh, well - strained blood, 40 parts.
These materials are stirred thoroughly
until an intimately bound mass of the
consistency of a more or less stiff salve
is obtained. In paste form this mass is
used as cement; in a liquid state it is
employed for painting all sorts of arti-
cles wnich are to be rendered waterproof
and durable. Cardboard covers, which
are coated with it two or three times, be

come as hard as wood. The Chinese paint
their houses with "shio liao" and glaze
their barrels with it, in which they trans-
port oil and other greasy substances.

LUTES.

Lutes always consist of a menstruum
and dissolved or suspended solids, and
they must not be attacked by the gases
and liquids coming in contact with them.
In some cases the constituents of the lute
react to form a more strongly adhering
mass.

The conditions of application are, in
brief:

(a) Heating the composition to make
it plastic until firmly fixed in place.

(6) Heating the surfaces.

(d) Moistening the surfaces with wa-
ter, oil, etc. (the menstruum of the lute
itself).

(e~) Applying the lute in workable con-
dition and the setting taking place by
chemical reactions.

(/) Setting by hydration.

((/) Setting by oxidation.

These principles will be found to cover
nearly all cases.

Joints should not be ill - fitting, de-
pending upon the lute to do what the
pipes or other parts of the apparatus
should do. In most cases one part of
the fitting should overlap the other, so
as to make a small amount of the lute
effective and to keep the parts of the ap-
paratus rigid, as a luted joint is not
supposed to be a particularly strong one,
but rather one quickly applied, effective
while in place and easily removed.

Very moderate amounts of the lute
should be used, as large amounts are
likely to develop cracks, be rubbed off,
etc.

A classification may be given as fol-
lows:

(1) Plaster of Paris.

(2) Hydraulic cement.

(3) Clay.

(4) Lime.

(5) Asphalt and pitch.

(6) Rosin.

(7) Rubber.

(8) Linseed oil.

(9) Casein and albumen.

(10) Silicates of soda and oxychlo-
ride cements.

(11) Flour and starch.

(12) Miscellaneous, including core
compounds.

I. Plaster of Paris is, of course, often
used alone as a paste., which quickly

ADHESIVES

soliames, for gas and wood distillation
retorts, etc., and similar places where
quickness of setting is requisite. It is
more often, however, used with some
fibrous material to give it greater strength.
Asbestos is the most commonly used
material of these, as it will stand a high
temperature. When that is not so im-
portant, straw, plush trimmings, hair,
etc., are used as binders, while broken
stone, glass, and various mineral sub-
stances are used as fillers, but they do
not add anything to the strength.
These lutes seem to be particularly suit-
able for oil vapors and hydrocarbon

Formulas:

(1) Plaster and water.

(2) Plaster (wet) and asbestos.

(3) Plaster (wet) and straw.

(4) Plaster (wet) and plush trim-

mings.

(5) Plaster (wet) and hair.

(6) Plaster (wet) and broken stone,

etc.

II. Hydraulic Cement. — Cement is
used either alone or with sand, asbestos,
etc. These lutes are suitable for nitric
acid. When used with substances such
as rosin or sulphur, cement is probably
employed because it is in such a fine
state of division and used as a filler and
not because of any powers of setting by
hydration.

Formulas:

(1) Cement — neat.

(2) Cement and asbestos.

(3) Cement and sand.

III. Clay. — This most frequently en-
ters into the composition of lutes as a
filler, but even then the very finely divid-
ed condition of certain grades renders
it valuable, as it gives body to a liquid,
such as linseed oil, which, unless stiff-
ened, would be pervious to a gas, the
clay in all cases being neutral. Thus,
for luting pipes carrying chlorine, a stiff
paste of clay and molasses has been sug-
gested by Theo. Koller in Die Surrogate,
but it soon gives way.

Formulas:

(1) Clay and linseed oil.

(2) Same, using fire clay.

(3) Clay and molasses.

(1) Is suitable for steam, etc.; (2) for
chlorine, and (3) for oil vapors.

IV. Lime is used in the old lute known
as putty, which consists of caustic lime
and linseed oil. Frequently the lime is
replaced by chalk and china clay, but
the lime should be, in part at least, caus-
tic, so as to form a certain amount of
lime soap. Lime is also used in silicate

and casein compositions, which are very
strong and useful, but will be described
elsewhere.
Formulas:

(1) Lime and boiled oil to stiff mass.

(2) Clay, etc., boiled oil to stiff

mass.

V. Asphalt and Pitch. —These sub-
stances are used in lutes somewhat inter-
changeably. As a rule, pitch makes the
stronger lutes. Tar is sometimes used,
but, because of the light oils and, fre-
quently, water contained, it is not so
good as either of the others.

Asphalt dissolved in benzol is very
useful for uniting glass for photographic,
microscopical, and other uses. Also
for coating wood, concrete, etc., where
the melted asphalt would be too thick
to cover well. Benzol is the cheapest
solvent that is satisfactory for this pur-
pose, as the only one that is cheaper
would be a petroleum naphtha, which
does not dissolve all the constituents of
the asphalt. For waterproofing wood,
brick, concrete, etc., melted asphalt
alone is much used, but when a little
paraffine is added, it improves its water-
proofing qualities, and in particular cases
boiled oil is also added to advantage.

Formulas:

1. Refined lake asphalt.

2. Asphalt 4 parts

Paraffine 1 part

3. Asphalt 10 parts

Paraffine '. 2 parts

Boiled oil 1 part

Any of these may be thinned with hot
benzol or toluol. Toluol is less volatile
than benzol and about as cheap, if not
cheaper, the straw-colored grades being
about 24 cents per gallon.

Examples of so-called "stone cement"
are:

4. Pitch 8 parts

Rosin 6 parts

Wax 1 part

Plaster \ to * part

5. Pitch 8 parts

Rosin 7 parts

Sulphur 2 parts

Stone powder 1 part

These compositions are used to unite
slate slabs and stoneware for domestic,
engineering, and chemical purposes. Va-
rious rosin and pitch mixtures are used
for these purposes, and the proportions
of these two ingredients are determined
by the consistency desired. Sulphur and
stone powder are added to prevent the
formation of cracks, sulphur acting chem-
ically and stone powder mechanically

ADHESIVES

Where the lute would come in contact
with acid or vapors of the same, lime-
stone should not be the powder used,
otherwise it is about the best. Wax is a
useful ingredient to keep the composi-
tion from getting brittle with age.

A class of lutes under this general
grouping that are much used are so-
called "marine glues" (q. v.). They
must be tough and elastic. When used
for calking on a vessel they must expand
and contract with the temperature and
not crack or come loose.

Formulas:

6. Pitch 3 parts

Shellac 2 parts

Pure crude rubber ... 1 part

7. Pitch 1 part

Shellac 1 part

Rubber substitute .... 1 part

These are used by melting over a
burner.

VI. Rosin, Shellac, and Wax. — A
strong cement, used as a stone cement,
is:

1. Rosin 8 parts

Wax 1 part

Turpentine 1 part

It has little or no body, and is used in
thin layers.

For nitric and hydrochloric acid
vapors:

2. Rosin 1 part

Sulphur 1 part

Fire clay 2 parts

Sulphur gives great hardness and
permanency to rosin lutes, but this com-
position is somewhat brittle.

Good waterproof lutes of this class
are:

3. Rosin 1 part

Wax 1 part

Powdered stone 2 parts

4. Shellac 5 parts

Wax.... 1 part

Turpentine 1 part

Chalk, etc 8 to 10 parts

For a soft air-tight paste for ground-
glass surfaces:

5. Wax 1 part

Vaseline 1 part

6. A strong cement, without body,
for metals (other than copper or alloys
of same), porcelain, and glass is made by
letting 1 part of finely powdered shellac
stand with 10 parts of ammonia water
until solution is effected.

VII. Rubber. — Because of its toughness,
elasticity, and resistance to alterative
influences, rubber is a very useful con-

stituent in lutes, but its price makes its
use very limited.
Leather Cement.

1. Asphalt 1 part

Rosin 1 part

Gutta percha 4 parts

Carbon disulphide. . . 20 parts

To stand acid vapors:

2. Rubber 1 part

Linseed oil 3 parts

Fire clay 3 parts

3. Plain Rubber Cement. — Cut the
crude rubber in small pieces and then
add the solvent. Carbon disulphide is
the best, benzol good and much cheaper,
but gasoline is probably most extensively
used because of its cheapness.

4. To make corks and wood im-
pervious to steam and water, soak them
in a rubber solution as above; if it is
desired to protect them from oil vapors,
use glue composition. (See Section IX.)

VIII. Linseed Oil.— This is one of the
most generally useful substances we have
for luting purposes, if absorbed by a por-
ous substance that is inert.

Formulas: 1. China clay of general
utility for aqueous vapors.

Linseed oil of general utility for aque-
ous vapors.

2. Lime forming the well - known
putty.

Linseed oil forming the well-known
putty.

3. Red or white lead and linseed oil.
These mixtures become very strong

when set and are best diluted with pow-
dered glass, clay, or graphite. There
are almost an endless number of lutes
using metallic oxides and linseed oil. A
very good one, not getting as hard as
those containing lead, is:

4. Oxide of iron and linseed oil.

IX. Casein, Albumen, and Glue. —
These, if properly made, become very
tough and tenacious; they stand moder-
ate heat and oil vapors, but not acid
vapors.

1. Finely powdered case-

in 12 parts

Slaked lime (fresh). . . 50 parts

Fine sand. . ; 50 parts

Water to thick mush.
A very strong cement which stands
moderate heat is the following :

2. Casein in very fine

powder 1 part

Rubbed up with sili-
cate of soda 3 parts

A strong lute for general purposes.

ADHESIVES

which must be used promptly when
made:

3. White of egg made into a paste
with slaked lime.

A composition for soaking corks,
wood, packing, etc., to render them im-
pervious to oil vapors, is:

Gelatine or good glue 2 parts

Glycerine A to 1 part

Water 6 parts

Oil of wintergreen,
etc., to keep from
spoiling.

X. Silicate of Oxy chloride Cements. —
For oil vapors, standing the highest heat:

1. A stiff paste of silicate of soda and
asbestos.

Gaskets for superheated steam, re-
torts, furnaces, etc.:

2. Silicate of soda and powdered glass;
dry the mixture and heat.

Not so strong, however, as the follow-
ing:

3. Silicate of soda 50 parts

Asbestos 15 parts

Slaked lime 10 parts

Metal Cement:

4. Silicate of soda 1 part

Oxides of metal, such

as zinc oxide; lith-
arge, iron oxide,

singly or mixed 1 part

Very hard and extra strong composi-
tions:

5. Zinc oxide 2 parts

Zinc chloride 1 part

Water to make a paste.

6. Magnesium oxide ... 2 parts
Magnesium chloride. 1 part
Water to make a paste.

XI. Flour and Starch Compositions. —

1. The well-known flaxseed poultice
sets very tough, but does not stand water
or condensed steam.

2. Flour and molasses, made by mak-
ing a stiff composition of the two.
This is an excellent lute to have at hand
at all times for emergency use, etc.

3. Stiff paste of flour and strong zinc-
chloride solution forms a more imper-
vious lute, and is more permanent as
a cement. This is good for most pur-
poses, at ordinary temperature, where it
would not be in contact with nitric-acid
vapors or condensing steam.

4. A mixture of dextrine and fine sand
makes a good composition, mainly used
as core compound.

XII. Miscellaneous. —
1. Litharge.

Glycerine.

Mixed to form a stiff paste, sets and
becomes very hard and strong, and is very
useful for inserting glass tubes, etc., in
iron or brass.
For a high heat:

2. Alumina 1 part

Sand 4 parts

Slaked lime 1 part

Borax £ part

Water sufficient.

A class of mixtures that can be classi-
fied only according to their intended use
are core compounds.

I. — Dextrine, about 1 part

Sand, about 10 parts

With enough water to form a paste.
II. — Powdered anthracite coal, with
molasses to form a stiff paste.
III. — Rosin, partly saponi-
fied by soda lye .... 1 part

Flour. 2 parts

Sand (with sufficient

water) 4 parts

(These proportions are approximate
and the amount of sand can be increased
for some purposes.)

IV. — Glue, powdered 1 part

Flour 4 parts

Sand (with sufficient

water) 6 parts

For some purposes the following mix-
ture is used. It does not seem to be a
gasket or a core compound:
V.— Oats (or wheat) ground 25 parts

Glue, powdered 6 parts

Sal ammoniac 1 part

Paper read by Samuel S. Sadtler before
the Franklin Institute.

PASTES:

Dextrine Pastes. —

I. — Borax, powdered.. . . 60 parts
Dextrine, light yellow. 480 parts

Glucose 50 parts

Water 420 parts

By the aid of heat, dissolve the borax
in the water and add the dextrine and
glucose. Continue the heat, but do not
let the mixture boil, and stir constantly
until a homogeneous solution is obtained,
from time to time renewing the water
lost by evaporation with hot water.
Finally, bring up to full weight (1,000
parts) by the addition of hot water, then
strain through flannel. Prepared in this
manner the paste remains bright and
clear for a long time. It has extraor-
dinary adhesive properties and dries very
rapidly. If care is not taken to keep the
cooking temperature below the boiling
point of water, the paste is apt to become
brown and to be very brittle on drying.

ADHESIVES

II. — Dissolve in hot water a sufficient
quantity of dextrine to bring it to the
consistency of honey. This forms a
strong adhesive paste that will keep a
long time unchanged, if the water is not
allowed to evaporate. Sheets of paper
may be prepared for extempore labels
by coating one side with the paste and
allowing it to dry; by slightly wetting
the gummed side, the label will adhere
to glass. This paste is very useful in the
office or laboratory.

III. — Pour over 1,000 parts of dextrine
450 parts of soft water and stir the mix-
ture for 10 minutes. After the dextrine
has absorbed the water, put the mixture
over the fire, or, preferably, on a water
bath, and heat, with lively stirring for
5 minutes, or until it forms a light milk-
like liquid, on the surface of which lit-
tle bubbles begin to form and the liquid
is apparently beginning to boil. Do
not allow it to come to a boil. Re-
move from the fire and set in a bucket
of cold water to cool off. When cold
add to every 1,000 parts of the solution
51 parts glycerine and as much salicylic
acid as will stand on the tip of a knife
blade. If the solution is too thick, thin
it with water that has been boiled and
cooled off again. Dp not add any more
glycerine or the solution will never set.

IV.— Soften 175 parts of thick dex-
trine with cold water and 250 parts of
boiling water added. Boil for 5 minutes
and then add 30 parts of dilute acetic
acid, 30 parts glycerine, and a drop or
two of clove oil.

V. — Powder coarsely 400 parts dex-
trine and dissolve in 600 parts of water.
Add 20 parts glycerine and 10 parts glu-
cose and heat to 90° C. (195° F.).

VI. — Stir 400 parts of dextrine with
water and thin the mass with 200 parts
more water, 20 parts glucose, and 10
parts aluminum sulphate. Heat the
whole to 90° C. (195° F.) in the water
bath until the whole mass becomes clear
and liquid.

VII. — Warm 2 parts of dextrine, 5
parts of water, 1 part of acetic acid, 1
part of alcohol together, with occasional
stirring until a complete solution is at-
tained.

VIII. — Dissolve by the aid of heat 100
parts ot builders' glue in 200 parts of
water add 2 parts of bleached shellac
dissolved previously in 50 parts of alcohol.
Dissolve by the aid of heat 50 parts of dex-
trine in 50 parts of water, and mix the two
solutions by stirring the second slowly
into the first. Strain the mixture through
a cloth into a shallow dish and let it
harden. When needed cut off a piece of

sufficient size and warm until it becomes
liquid and if necessary or advisable thin
with water.

IX. — Stir up 10 parts of dextrine with
sufficient water to make a thick broth.
Then, over a light fire, heat and add 25
parts of sodium water glass.

X. — Dissolve 5 parts of dextrine in
water and add 1 part of alum.

Fastening Cork to Metal. — In fasten-
ing cork to iron and brass, even when
these are lacquered, a good sealing wax
containing shellac will be found to serve
the purpose nicely. Wax prepared with
rosin is not suitable. The cork surface
is painted with the melted sealing wax.
The surface of the metal is heated with
a spirit flame entirely free from soot,
until the sealing wax melts when pressed
upon the metallic surface. The wax is
held in the flame until it burns, and it is
then applied to the hot surface of the
metal. The cork surface painted with
sealing wax is now held in the flame, and
as soon as the wax begins to melt the
cork is pressed firmly on the metallic sur-
face bearing the wax.

To Paste Celluloid on Wood, Tin, or
Leather. — To attach celluloid to wood,
tin, or leather, a mixture of 1 part of
shellac, 1 part of spirit of camphor, 3 to
4 parts of alcohol and spirit of camphor (90°)
is well adapted, in which 1 part of cam-
phor is dissolved without heating in 7
parts of spirit of wine of 0.832 specific
gravity, adding 2 parts of water.

To Paste Paper Signs on Metal or
Cloth. — A piece of gutta percha of the
same size as the label is laid under the
latter and the whole is heated. If the
heating cannot be accomplished by means
of a spirit lamp the label should be ironed
down under a protective cloth or paper
in the same manner as woolen goods are
pressed. This method is also very use-
ful for attaching paper labels to minerals.

Paste for Fastening Leather, Oilcloth,
or Similar Stuff to Table or Desk Tops,
etc. — Use the same paste for leather as
for oilcloth or other goods, but moisten
the leather before applying the paste.
Prepare the paste as follows: Mix 2J
pounds of good wheat flour with 2
tablespoonfuls of pulverized gum ara-
bic or powdered rosin and 2 table-
spoonfuls of pulverized alum in a clean
dish with water enough to make a uni-
formly thick batter; set it over a slow
fire and stir continuously until the paste
is uniform and free from lumps. When
the mass has become so stout that the
wooden spoon or stick will stand in it

ADHESIVES

upright, it is taken from the fire and
placed in another dish and covered so
that no skin will form on top. When
cold, the table or desk top, etc., is
covered with a thin coat of the paste, the
cloth, etc., carefully laid on and smoothed
from the center toward the edges with
a rolling pin. The trimming of edges is
accomplished when the paste has dried.
To smooth out the leather after pasting, a
woolen cloth is of the best service.

To Paste Paper on Smooth Iron. —
Over a water bath dissolve 200 parts, by
weight, of gelatine in 150 parts, by weight,
of water; while stirring add 50 parts, by
weight, of acetic acid, 50 parts alco-
hol, and 50 parts, by weight, of pulver-
ized alum. The spot upon which it is
desired to attach the paper must first
be rubbed with a bit of fine emery paper.

Paste for Affixing Cloth to Metal.—

Starch 20 parts

Sugar 10 parts

Zinc chloride 1 part

Water 100 parts

Mix the ingredients and stir .until a
perfectly smooth liquid results entirely
free from lumps, then warm gradually
until the liquid thickens.

To Fix Paper upon Polished Metal.—
Dissolve 400 parts, by weight, of dextrine
in 600 parts, by weight, of water; add
to this 10 parts, by weight, of glucose,
and heat almost to boiling.

Albumen Paste.— Fresh egg albumen
is recommended as a paste for affixing
labels on bottles. It is said that labels
put on with this substance, and well
dried at the time, will not loosen even
when bottles are put into water and left
there for some time. Albumen, dry, is
almost proof against mold or ferments.
As to cost, it is but little if any higher
than gum arabic, the white of one egg
being sufficient to attach at least 100
medium-sized labels.

Paste for Parchment Paper.— The best
agent is made by dissolving casein in a
saturated aqueous solution of borax.

Medical Paste. — As an adhesive agent
for medicinal purposes Professor Reihl,
of Leipsic, recommends the viscous sub-
stance contained in the white mistletoe.
It is largely present in the berries and
the bark of the plant; it is called viscin,
and can be produced at one-tenth the
price of caoutchouc. Solutions in ben-
zine mav be used like those of caout-
chouc without causing any irritation if
applied mixed with medicinal remedies
to the skin.

Paste That Will Not Mold.— Mix good
white flour with cold water into a thick
paste. Be sure to stir out all the lumps;
then add boiling water, stirring all the
time until thoroughly cooked. To 6
quarts of this add \ pound light brown
sugar and \ ounce corrosive sublimate,
dissolved in a little hot water. When the
paste is cool add 1 drachm oil of lavender.
This paste will keep for a long time.

Pasting Wood and Cardboard on
Metal. — In a little water dissolve 50 parts
of lead acetate and 5 parts of alum. In
another receptacle dissolve 75 parts of
gum arabic in 2,000 parts of water.
Into this gum-arabic solution pour 500

Krts of flour, stirring constantly, and
at gradually to the boiling point.
Mingle the solution first prepared with
the second solution. It should be kept
in mind that, owing to the lead acetate,
this preparation is poisonous.

Agar Agar Paste.— The agar agar is
broken up small, wetted with water, and
exposed in an earthenware vessel to the ac-
tion of ozone pumped under pressure into
the vessel from the ozonizing apparatus.
About an hour of this bleaches the agar
agar and makes it freely soluble in boil-
ing water, when solutions far more con-
centrated than has hitherto been possible
can be prepared. On cooling, the solu-
tions assume a milky appearance, but
form no lumps and are readily relique-
fied by heating. If the solution is com-
pletely evaporated, as of course happens
when the adhesive is allowed to dry after
use, it leaves a firmly holding mass which
is insoluble in cold water. Among the
uses to which the preparation can be
applied are the dressing of textile fabrics
and paper sizing, and the production of
photographic papers, as well as the or-
dinary uses of an adhesive.

Strongly Adhesive Paste. — Four parts
glue are soaked a few hours in 15 parts
cold water, and moderately heated till
the solution becomes perfectly clear,
when 65 parts boiling water are added,
while stirring. In another vessel 30
parts boiled starch are previously stirred
together with 20 parts cold water, so
that a thin, milky liquid without lumps
results. The boiling glue solution is
poured into this while stirring constantly,
and the whole is kept boiling another 10
minutes.

Paste for Tissue Paper.—
(a) Pulverized gum ara-
bic 2 ounces

White sugar 4 drachms

Boiling water 3 fluidounces

ADHESIVES

(6) Common laundry

starch 1^ ounces

Cold water 3 fluidounces

Make into a batter and pour into

Boiling water 32 fluidounces

Mix (a) with (6), and keep in a wide-
mouthed bottle.

Waterproof and Acidproof Pastes. —

I. — Chromic acid 2£ parts

Stronger ammonia. . . 15 parts

Sulphuric acid % part

Cuprammonium so-
lution 30 parts

Fine white paper .... 4 parts
II. — Isinglass, a sufficient
quantity

Acetic acid 1 part

Water 7 parts

Dissolve sufficient isinglass in the mix-
ture of acetic acid and water to make a
thin mucilage.

One of the solutions is applied to the
surface of one sheet of paper and the other
to the other sheet, and they are then
pressed together.

III. — A fair knotting varnish free
from surplus oil is by far the best adhe-
sive for fixing labels, especially on metal
surfaces. It dries instantly, insuring
a speedy job and immediate packing, if
needful, without fear of derangement.
It has great tenacity, and is not only
absolutely damp-proof itself, but is actu-
ally repellent of moisture, to which all
water pastes are subject. It costs more,
but the additional expense is often infini-
tesimal compared with the pleasure of a
satisfactory result.

Balkan Paste.—

Pale glue 4 ounces

White loaf sugar. ... 2 ounces
Powdered starch. ... 1 ounce

White dextrine \ pound

Pure glycerine 3 ounces

Carbolic acid \ ounce

Boiling water 32 ounces

Cut up the glue and steep it in i pint
boiling water; when softened melt in a
saucepan; add sugar, starch, and dex-
trine, and lastly the glycerine, in which
carbolic acid has been mixed; add re-
mainder of water, and boil until it thick-
ens. Pour into jars or bottles.

Permanent Paste. —

I. — Wheat flour 1 pound

Water, cold 1 quart

Nitric acid 4 fluidrachms

Boric acid 40 grains

Oil of cloves 20 minims

Mix the flour, boric acid, and water*
then strain the mixture; add fbe nitric

acid, apply heat with constant stirring
until the mixture thickens; when nearly
cold add the oil of cloves. This paste
will have a pleasant smell, will not attract
flies, and can be thinned by the addition
of cold water as needed.

II. — Dissolve 4 ounces alum in 4
quarts hot water. When cool add as
much flour as will make it of the usual
consistency; then stir into it i ounce
powdered rosin; next add a little water
in which a dozen cloves have been
steeped; then boil it until thick as mush,
stirring from the bottom all the time.
Thin with warm water for use.

Preservatives for Paste. — Various an-
tiseptics are employed for the preserva-
tion of flour paste, mucilage, etc. Boric
and salicylic acids, oil of cloves, oil of
sassafras, and solution of formaldehyde
are among those which have given best
service. A durable starch paste is pro-
duced by adding some borax to the
water used in making it. A paste from
10 parts (weight) starch to 100 parts
(weight) water with 1 per cent borax
added will keep many weeks, while with-
out this addition it will sour after six
days. In the case of a gluing material
prepared from starch paste and joiners'
glue, borax has also demonstrated its pre-
serving qualities. The solution is made
by mixing 10 parts (weight) starch into
a paste with water and adding 10 parts
(weight) glue soaked in water to the hot
solution; the addition of -,-V part (weight)
of borax to the solution will cause it to
keep for weeks. It is equal to the best
glue, but should be warmed and stirred
before use.

Board -Sizing. — A cheap sizing for
rough, weather-beaten boards may be
made by dissolving shellac in sal soda
and adding some heavy-bodied pigment.
This size will stick to grease spots. Lin-
seed oil may be added if desired. Lime-
water and linseed oil make a good heavy
sizing, but hard to spread. They are
usually used half and half, though these
proportions may be varied somewhat.

Rice Paste. — Mix the rice flour with
cold water, and boil it over a gentle fire
until it thickens. This paste is quite
white and becomes transparent on dry-
ing. It is very adherent and of great use
for many purposes.

Casein Paste. — A solution of tannin,
prepared from a bark or from commer-
cial tannin, is precipitated with lime-
water, the lime being added until the

j solution just turns red litmus paper blue.

• The supernatant liquid is then decanted,

ADHESIVES

and the precipitate is dried without arti-
ficial heat. The resulting calcium tan-
nate is then mixed, according to the pur-
pose for which the adhesive is intended,
with from 1 to 10 times its weight of dry
casein by grinding in a mill. The ad-
hesive compound is soluble in water,
petroleum, oils, and carbon bisulphide.
It is very strong, and is applied m the
form of a paste with water.

PASTES FOR PAPERHANGERS.

I. — Use a cheap grade of rye or wheat
flour, mix thoroughly with cold water to
about the consistency of dough, or a little
thinner, being careful to remove all
lumps; stir in a tablespoonful of pow-
dered alum to a quart of flour, then pour
in boiling water, stirring rapidly until the
flour is thoroughly cooked. Let this cool
before using, and thin with cold water.

II. — Venetian Paste. —
(a) 4 ounces white or fish glue

8 fluidounces cold water
(6) 2 fluidounces Venice turpentine
(c) 1 pound rye flour

16 fluidounces (1 pint) cold water
(d~) 64 fluidounces (| gallon) boiling

water

Soak the 4 ounces of glue in the cold
water for 4 hours; dissolve on a water
bath (glue pot), and while hot stir in the
Venice turpentine. Make up (c) into a
batter free from lumps and pour into (d).
Stir briskly, and finally add the glue so-
lution. This makes a very strong paste,
and it will adhere to a painted surface,
owing to the Venice turpentine in its
composition.

III.— Strong Adhesive Paste. —
(a) 4 pounds rye flour

| gallon cold water
(6) 1| gallons boiling water
(c) 2 ounces pulverized rosin

Make (a) into a batter free from lumps;
then pour into (6) . Boil if necessary, and
while hot stir in the pulverized rosin a
little at a time. This paste is exceed-
ingly strong, and will stick heavy wall
paper or thin leather. If the paste be
too thick, thin with a little hot water;
never thin paste with cold water.

IV. —Flour Paste. —
(a) 2 pounds wheat flour

32 fluidounces (1 quart) cold water
(6) 1 ounce alum

4 fluidounces hot water
(c) 96 fluidounces ($ gallon) boiling

water

Work the wheat flour into a batter free
from lumps with the cold water. Dis-
solve the alum as designated in (6).

Now stir in (a) and (c) and, if necessary,
continue boiling until the paste thickens
into a semitransparent mucilage, after
which stir in solution (6). The above
makes a very fine paste for wall paper.

V.— Elastic or Pliable Paste. —
(a) 4 ounces common starch

2 ounces white dextrine
10 fluidounces cold water

(6) 1 ounce borax

3 fluidounces glycerine

64 fluidounces (^ gallon) boiling
water

Beat to a batter the ingredients of (a).
Dissolve the borax in the boiling water;
then add the glycerine, after which pour
(a) into solution (6) . Stir until it becomes
translucent. This paste will not crack,
and, being very pliable, is used for paper,
cloth, leather, and other material where
flexibility is required.

VI. — A paste with which wall paper
can be attached to wood or masonry,
adhering to it firmly in spite of damp-
ness, is prepared, as usual, of rye flour, to
which, however, are added, after the boil-
ing, 8J parts, by weight, of good linseed-
oil varnish and 8J parts, by weight, of
turpentine to every 500 parts, by weight.

VII.— Paste for Wall Paper.— Soak 18
pounds of bolus (bole) in water, after it
has been beaten into small fragments,
and pour off the supernatant water.
Boil 10 ounces of glue into glue water,
mix it well with the softened bolus and
2 pounds plaster of Paris and strain
through a sieve by means of a brush.
Thin the mass with water to the consist-
ency of a thin paste. The paste is now
ready for use. It is not only much
cheaper than other varieties, but has the
advantage over them of adhering better
to whitewashed walls, and especially
such as have been repeatedly coated over
the old coatings which were not thor-
oughly removed. For hanging fine wall
paper this paste is less commendable,
as it forms a white color,, with which
the paper might easily become soiled if
great care is not exercised in applying
it. If the fine wall paper is mounted on
ground paper, however, it can be recom-
mended for pasting the ground paper on
'the wall.

LABEL PASTES :

Pastes to Affix Labels to Tin.— Labels
separate from tin because the paste be-
comes too dry. Some moisture is pre-
sumably always present; but more is
required to cause continued adhesion in the
case of tin than where the container is of

ADHESIVES

glass. Paste may be kept moist by the
addition of calcium chloride, which is
strongly hygroscopic, or of glycerine.

The following formulas for pastes of
the type indicated were proposed by Leo
Eliel:

I. — Tragacanth 1 ounce

Acacia 4 ounces

Thymol 14 grains

Glycerine 4 ounces

Water, sufficient to

make 2 pints

Dissolve the gums in 1 pint of water,
strain, and add the glycerine, in which
the thymol is suspended; shake well and
add sufficient water to make 2 pints.
This separates on standing, but a single
shake mixes it sufficiently for use.

II. — Rye flour 8 ounces

Powdered acacia. ... 1 ounce

Glycerine 2 ounces

Oil of cloves 40 drops

Rub the rye flour and acacia to a
smooth paste with 8 ounces of cold water;
strain through cheese cloth, and pour
into 1 pint of boiling water, and continue
the heat until as thick as desired. When
nearly cold add the glycerine and oil of
cloves.

III.— Rye flour 5 parts

Venice turpentine. .. 1 part
Liquid glue, a sufficient quantity
Rub up the flour with the turpentine
and then add sufficient freshly prepared
glue (glue or gelatine dissolved in water)
to make a stiff paste. This paste dries
slowly.

IV. — Dextrine 2 parts

Acetic acid 1 part

Water 5 parts

Alcohol, 95 per cent . 1 part
Dissolve the dextrine and acetic acid
in water by heating together in the water
bath, and to the solution add the alcohol.

V. — Dextrine 3 pounds

Borax 2 ounces

Glucose 5 drachms

Water 3 pints 2 ounces

Dissolve the borax in the water by
warming, then add the dextrine and glu-
cose, and continue to heat gently until
dissolved.

Another variety is made by dissolving'
a cheap Ghatti gum in limewater, but it
keeps badly.

VI. — Add tartaric acid to thick flour
paste. The paste is to be boiled until
quite thick, and the acid, previously dis-
solved in a little water, is added, the pro-
portion being about 2 ounces to the pint
of paste.

VII. — Gum arabic, 50 parts; glycer-
ine, 10 parts; water, 30 parts; liq. Stibii
chlorat., 2 parts.

VIII. — Boil rye flour and strong glue
water into a mass to which are added, for
1,000 parts, good linseed-oil varnish 30
parts and oil of turpentine 30 parts.
This mixture furnishes a gluing agent
which, it is claimed, even renders the
labels proof against being loosened by
moisture.

IX.— Pour 140 parts of distilled cold
water over 100 parts of gum arabic in a
wide-necked bottle and dissolve by fre-
quent shaking. To the solution, which
is ready after standing for about 3 days,
add 10 parts of glycerine; later, 20 parts of
diluted acetic acid, and finally 6 parts of
aluminum sulphate, then straining it
through a fine-hair sieve.

X. — Good glue is said to be obtained
by dissolving 1 part of powdered sugar
in 4 parts of soda water glass.

XI. — A glue for bottle labels is pre-
pared by dissolving borax in water;
soak glue in this solution and dissolve
the glue by boiling. Carefully drop as
much acetic acid into the solution as
will allow it to remain thin on cooling.
Labels affixed with this agent adhere
firmly and do not become moldy in damp
cellars.

XII. — Dissolve some isinglass in acetic
acid and brush the labels over with it.
There will be no cause to complain
of their coming off, nor of striking
through the paper. Take a wide-
mouthed bottle, fill about two-thirds with
commercial acetic acid, and put in as much
isinglass as the liquid will hold, and set
aside in a warm place until completely
dissolved. When cold it should form a
jelly. To use it place the bottle in hot
water. The cork should be well-fit-
ting and smeared with vaseline or melted
paraffine.

How to Paste Labels on Tin. — Brush
over the entire back of the label with a
flour paste, fold the label loosely by
sticking both ends together without
creasing the center, and throw to one
side until this process has been gone
through with the whole lot. Then unfold
each label and place it on the can in the
regular manner. The paste ought not
to be thicker than maple syrup. When
of this consistency it soaks through the
label and makes it pliable and in a con-
dition to be easily rubbed into position.
If the paste is too thick it dries quickly,
and does not soak through the label suf-
ficiently. After the labels have been
placed upon the cans the latter must be

ADHESIVES

kept apart until dry. In putting the
paste upon the labels in the first place,
follow the method of placing the dry
labels over one another, back sides up,
with the edge of each just protruding over
the edge of the one beneath it, so that
the fingers may easily grasp the label
after the pasting has been done.

Druggists' Label Paste.— This paste,
when carefully made, is an admirable one
for label use, and a very little will go a
long way:

Wheat flour 4 ounces

Nitric acid 1 drachm

Boric acid 10 grains

Oil of cloves 5 drops

Carbolic acid | drachm

Stir flour and water together, mixing
thoroughly, and add the other ingre-
dients. After the stuff is well mixed,
heat it, watching very carefully and re-
moving the instant it stiffens.

To Attach Glass Labels to Bottles.—
Melt together 1 part of rosin and 2 parts
of yellow wax, and use while warm.

Photographic Mountants (see also
Photography). — Owing to the nature of
the different papers used for printing
photographs, it is a matter of extreme
importance to use a mountant that shall
not set up decomposition in the coating
of the print. For example, a mountant
that exhibits acidity or alkalinity is in-
jurious with most varieties of paper; and
in photography the following formulas
for pastes, mucilages, etc., have there-
fore been selected with regard to their
absolute immunity from setting up de-
composition in the print or changing its
tone in any way. One of the usual
mountants is rice starch or else rice water.
The latter is boiled to a thick jelly,
strained, and the strained mass used
as an agglutinant for attaching photo-
graphic prints to the mounts. There is
nothing of an injurious nature whatever
in this mountant, neither is there in a
mucilage made with gum dragon.

This gum (also called gum traga-
canth) is usually in the form of curls
(i.e., leaf gum), which take a long time
to properly dissolve in water — several
weeks, in fact — but during the past few
years there has been put on the market a
powdered gum dragon which does not
occupy so many days in dissolving. To
make a mucilage rom gum dragon a
very large volume of water is required.
For example, 1 ounce of the gum, either
leaf or powder, will swell up and con-
vert 1 gallon of water into a thickish
mucilage in the course of 2 or 3 weeks.

Only cold water must be used, and be-
fore using the mucilage, all whitish
lumps (which are particles of undissolved
gum) should be picked out or else the
mucilage strained. The time of solution
can be considerably shortened (to a few
hours) by acidifying the water in which
the gum is placed with a little sulphuric
or oxalic acid; but as the resultant muci-
lage would contain traces of their pres-
ence, such acids are not permissible
when the gum-dragon mucilage is to be
used for mounting photographs.

Glycerine and gum arabic make a very
good adhesive of a fluid nature suited
to mounting photographs; and although
glycerine is hygroscopic by itself, such
tendency to absorb moisture is checked
by the reverse nature of the gum arabic;
consequently an ideal fluid mucilage is
produced. The proportions of the sev-
eral ingredients are these:
Gum arabic, genuine
(gum acacia, not

Bassora gum) 4 ounces

Boiling water 12 ounces

Glycerine, pure 1 ounce

First dissolve the gum in the water,
and then stir in the glycerine, and allow
al] debris from the gum to deposit before
using. The following adhesive com-
pound is also one that is free from chem-
ical reactions, and is suited for photo-
graphic purposes:

Water 2 pints

Gum dragon, pow-
dered 1 ounce

Gum arabic, genuine 4 ounces

Glycerine 4 ounces

Mix the gum arabic with half the wa-
ter, and in the remainder of the water
dissolve the gum dragon. When both
solids are dissolved, mix them together,
and then stir in the glycerine.

The following paste will be found a
useful mountant:

Gum arabic, genuine 1 ounce

Rice starch 1 ounce

White sugar 4 ounces

Water, q. s.

Dissolve the gum in just sufficient
water to completely dissolve it, then add
the sugar, and when that has completely
dissolved stir in the starch paste, and
then boil the mixture until the starch is
properly cooked.

A very strong, stiff paste for fastening
cardboard mounts to frames, wood, and
other materials is prepared by making
a bowl of starch paste in the usual way,
and then adding 1 ounce of Venice tur-
pentine per pound of paste, and boil-

ADHESIVES

ing and stirring the mixture until the
thick turpentine has become well incor-
porated. Venice turpentine stirred into
flour paste and boiled will also be found
a very adhesive cement for fastening
cardboard, strawboard, leatherette, and
skiver leather to wood or metal; but
owing to the resinous nature of the Venice
turpentine, such pastes are not suitable
for mounting photographic prints. The
following half-dozen compounds are
suitable mountants to use with silver
prints:

Alcohol, absolute. ... 10 ounces

Gelatine, good 1 ounce

Glycerine \ to 1 ounce

Soak the gelatine in water for an hour
or two until it is completely softened;
take the gelatine out of the water, and
allow it to drain, and put it into a
bottle and pour alcohol over it; add the
glycerine (if the gelatine is soft, use
only \ ounce; if the gelatine is hard, use
1 ounce of the glycerine), then melt the
gelatine by standing the bottle in a vessel
of hot water, and shake up very well.
For use, remelt by heat. The alcohol
prevents the prints from stretching or
cockling, as they are apt to, under the
influence of the gelatine.

In the following compound, however,
only sufficient alcohol is used to serve as
an antiseptic, and prevent the aggluti-
nant from decomposing : Dissolve 4
ounces of photographic gelatine in 16
ounces of water (first soaking the gela-
tine therein for an hour or two until it is
completely softened), then remove the
gelatine from the water, allow it to drain,
and put it into the bottle, and pour the
alcohol over it, and put in the glycerine
(if the gelatine is soft, use only \ ounce;
if the gelatine is hard, use 1 ounce of the
glycerine), then melt the gelatine by
standing the bottle in a vessel of hot
water, and shake up well and mix thor-
oughly. For use, remelt by heat. The
alcohol prevents the print from stretch-
ing or cockling up under the influence of
the gelatine.

The following paste agglutinant is one
that is very permanent and useful for all
purposes required in a photographic
studio: Take 5 pints of water, 10 ounces
of arrowroot, 1 ounce of gelatine, and a
\ pint (10 fluidounces) of alcohol, and
proceed to combine them as follows:
Make arrowroot into a thick cream with
a little of the water, and in the remainder
of the water soak the gelatine for a few
hours, after which melt the gelatine in
the water by heating it, add the arrow-
root paste, and bring the mixture to the
boil and allow to boil for 4 or 5 minutes,

then allow to cool, and mix in the alcohol,
adding a few drops of oil of cloves.

Perhaps one or the most useful com-
pounds for photographic purposes is that
prepared as follows: Soak 4 ounces of
hard gelatine in 15 ounces of water for a
few hours, then melt the gelatine by
heating it in a glue pot until the solution
is quite clear and free from lumps, stir
in 65 fluidounces of cold water so that
it is free from lumps, and pour in the
boiling-hot solution of gelatine and con-
tinue stirring, and if the starch is not
completely cooked, boil up the mixture
for a few minutes until it "blows," being
careful to keep it well stirred so as not
to burn; when cold add a few drops of
carbolic acid or some essential oil as an
antiseptic to prevent the compound from
decomposing or becoming sour.

A useful photographic mucilage, which
is very liquid, is obtained by mixing equal
bulks of gum-arabic and gum-dragon
mucilages of the same consistence. The
mixture of these mucilages will be con-
siderably thinner than either of them
when alone.

As an agglutinant for general use in the
studio, the following is recommended:
Dissolve 2 ounces of gum arabic in 5
ounces of water, and for every 250 parts
of the mucilage add 20 parts of a solu-
tion of sulphate of aluminum, prepared
by dissolving 1 part of the sulphate in
20 parts of water (common alum should
not be used, only the pure aluminum
sulphate, because common alum is a
mixture of sulphates, and usually con-
taminated with iron salts). The addi-
tion of the sulphate solution to the
gum mucilage renders the latter less
hygroscopic, and practically waterproof,
besides being very adhesive to any
materials, particularly those exhibiting a
smooth surface.

MUCILAGES :

For Affixing Labels to Glass and Other
Objects. — I. — The mucilage is made by
simply pouring over the gum enough
water to a little more than cover it, and
then, as the gum swells, adding more water
from time to time in small portions, until
the mucilage is brought to such con-
sistency that it may be easily spread with
the brush. The mucilage keeps fairly
well without the addition of any anti-
septic.

II. — Tragacanth 1 ounce

Acacia 4 ounces

Thymol 14 grains

Glycerine 4 ounces

Water, sufficient to
make 2 pints

ADHESIVES

Dissolve the gums in 1 pint of water,
strain and add the glycerine, in which
the thymol is suspended; shake well and
add sufficient water to make 2 pints.
This separates on standing, but a single
shake mixes it sufficiently for use.

III. — Rye flour 8 ounces

Powdered acacia. 1 ounce

Glycerine 2 ounces

Oil of cloves 40 drops

Water, a sufficient quantity.

Rub the rye flour and the acacia to a
smooth paste with 8 ounces of cold water;
strain through cheese cloth, and pour
into 1 pint of boiling water and continue
the heat until as thick as desired. When
nearly cold add the glycerine and oil of
cloves.

IV. — One part, by weight, of traga-
canth, when mixed with 95-per-cent alco-
hol to form 4 fluidounces, forms a liquid in
which a portion of the tragacanth is dis-
solved and the remainder suspended;
this remains permanently fluid, never
deteriorates, and can be used in place of
the present mucilage; 4 to 8 minims to
each ounce of mixture is sufficient to
suspend any of the insoluble substances
usually given in mixtures.

V. — To 250 parts of gum-arabic muci-
lage add 20 parts of water and 2 parts of
sulphate of alumina and heat until dis-
solved.

VI. — Dissolve \ pound gum traga-
canth, powdered, J pound gum arabic,
powdered, cold water to the desired con-
sistency, and add 40 drops carbolic acid.

Mucilage of Acacia. — Put the gum,
which should be of the best kind, in a flask
the size of which should be large enough
to contain the mucilage with about one-
fifth of its space to spare (i. e., the product
should fill it about four -fifths full). Now
tare, and wash the gum with distilled wa-
ter, letting the latter drain away as much
as possible before proceeding further.
Add the requisite quantity of distilled
water slowly, which, however, should
first have added to it about 10 per cent of
limewater. Now cork the flask, and lay
it, without shaking, horizontally in a cool
place and let it remain quietly for about
3 hours, then give it a half turn to the
right without disturbing its horizontal
position. Repeat this operation three or
four times during the day, and keep it
up until the gum is completely dissolved
(which will not be until the fourth day
probably), then strain through a thin
cloth previously wet with distilled wa-
ter, avoiding, in so doing, the formation
of foam or bubbles. This precaution
should also be observed in decantation

of the percolate into smaller bottles pro-
vided with paraffine corks. The small
amount of lime water, as will be under-
stood, is added to the solvent water in
order to prevent the action of free acid.

Commercial Mucilage. — Dissolve \
pound white glue in equal parts water
and strong vinegar, and add \ as much
alcohol and \ ounce alum dissolved in a
little water. To proceed, first get good
glue and soak in cold water until it
swells and softens. Use pale vinegar.
Pour off the cold water, then melt the
glue to a thick paste in hot water, and
add the vinegar hot. When a little cool
add the alcohol and alum water.

To Render Gum Arabic More Ad-
hesive.— I. — Add crystallized aluminum
sulphate in the proportion of 2 dissolved
in 20 parts of water to 250 parts of con-
centrated gum solution (75 parts of gum
in 175 parts of water).

II. — Add to 250 parts of concentrated
gum solution (2 parts of gum in 5 parts
of water) 2 parts of crystallized alumi-
num sulphate dissolved in 20 parts of
water. This mixture glues even unsized
paper, pasteboard on pasteboard, wood
on wood, glass, porcelain, and other
substances on which labels frequently do
not adhere well.

Envelope Gum. — The gum used by
the United States Government on postage
stamps is probably one of the best that
could be used not only for envelopes but
for labels as well. It will stick to almost
any surface. Its composition is said to
be the following:

Gum arabic 1 part

Starch 1 part

Sugar 4 parts

Water, sufficient to
give the desired con-
sistency.

The gum arabic is first dissolved in
some water, the sugar added, then the
starch, after which the mixture is boiled
for a few minutes in order to dissolve
the starch, after which it is thinned down
to the desired consistency.

Cheaper envelope gums can be made
by substituting dextrine for the gum
arabic, glucose for the sugar, and adding
boric acid to preserve and help stiffen it.

Mucilage to Make Wood and Paste-
board Adhere to Metals. — Dissolve 50
parts, by weight, of lead acetate together
with 5 parts, by weight, of alum in a little
water. Make a separate solution of 75
parts, by weight, of gum arabic in 2,000
parts, by weight, of water, stir in this 500

ADHESIVES

parts, by weight, of flour, and heat slowly
to boiling, stirring the while. Let it cool
somewhat, and mix with it the solution
containing the lead acetate and alum,
stirring them well together.

Preservation of Gum Solution. — Put a
small piece of camphor in the mucilage
bottle. Camphor vapors are generated
which kill all the bacterial germs that
have entered the bottle. The gum main-
tains its adhesiveness to the last drop.

ADULTERANTS IN FOODS:

See Foods.

ADUROL DEVELOPER:

See Photography.

JESCO -QUININE :
See Horse Chestnut.

AGAR AGAR PASTE:

See Adhesives.

AGATE, BUTTONS OF ARTIFICIAL.

Prepare a mixture or frit of 33 parts
of quartz sand, 65 parts calcium phos-
phate, and 2 parts of potash. The frit,
which has been reduced by heat to the
fusing point, is finely ground, intimately
mingled with a small quantity of kaolin
and pressed in molds which yield button-
shaped masses. These masses, after hav-
ing been fired, are given a transparent
glaze by any of the well-known processes.

AGATE (IMITATION):

See Gems, Artificial.

AGING OF SILK:

See Silk.

AGING, SILVER AND GOLD:

See Plating.

AIR BATH.

This air bath is employed in cases
in which, upon drying or heating sub-
stances, acid vapors arise because the
walls of the bath are not attacked by
them. For the production of the drying
apparatus take a flask with the bottom
burst off or a bell jar tubulated above.
This is placed either upon a sand bath
or upon asbestos paper, previously laid
upon a piece of sheet iron. The sand
bath or the sheet iron is put on a tripod,
so that it can be heated by means of a
burner placed underneath. The sub-
stance to be dried is placed in a glass or
porcelain dish, which is put under the
bell jar, and if desired the drying dish
may be hung on the tripod. For regu-
lating the temperature the tubulure of
the jar is closed with a pierced cork,

through whose aperture the thermom-
eter is thrust. In order to permit the
vapors to escape, the cork is grooved
lengthwise along the periphery.

AIR BUBBLES IN GELATINE:
See Gelatine.

AIR, EXCLUSION OF, FROM SOLU-
TIONS:
See Photography.

AIR-PURIFYING.

Ozonatine is a fragrant air-purifying
preparation consisting of dextrogyrate
turpentine oil scented with slight quan-
tities of fragrant oils.

ALABASTER CLEANING:

See Cleaning Preparations and Meth-
ods.

ALBATA METAL:

See Alloys.

ALBUMEN IN URINE, DETECTION
OF.

Patein (Pharm. Zeit.) recommends the
following test for albumen in urine:
Dissolve 250 grams of citric acid in a
sufficient quantity of water, add enough
ammonia to neutralize, then 50 grams
of alcohol, and finally enough water to
make 1 liter. To the acid (or acidulated)
urine, one-tenth its volume of the ammo-
nium-citrate solution made as above is
added, and the whole heated in the usual
manner. The appearance of the faint-
est turbidity is said to indicate with pos-
itive certainty the presence of albumen.

ALBUMEN PAPER:
See Photography.

ALBUMEN PASTE:
See Adhesives.

Alcohol

After the manuscript of this book was
ready for the press, Congress passed the
bill which has since become a law, whereby
the prohibitive tax on industrial or de-
natured alcohol is removed. So impor-
tant is this legislative measure that the
Editor has deemed it wise to insert an
article on the sources of alcohol and the
manufacture of alcohol from farm prod-
ucts. Because the first portion of the
book was in type when this step was de-
cided upon, the Editor was compelled to
relegate to a later page a monograph
which should properly have appeared
here. The reader will find the matter
on alcohol referred to under the heading

ALCOHOL

"Spirit"; likewise methods of denaturing
and a list of denaturants.
ALCOHOL, DILUTION OF:
See Tables.

Alcohol, Tests for Absolute.— The
committee for the compilation of the
German Arzneibuch established the fol-
lowing tests for the determination of ab-
solute alcohol:

Absolute alcohol is a clear, colorless, vol-
atile, readily imflammable liquid which
burns with a faintly luminous flame.
Absolute alcohol has a peculiar odor, a
burning taste, and does not affect litmus
paper. Boiling point, 78.50. Specific
gravity, 0.795 to 0.797. One hundred
parts contain 99.7 to 99.4 parts, by vol-
ume, or 99.6 to 99.0 parts, by weight, of
alcohol.

Absolute alcohol should have no for-
eign smell and should mix with water
without cloudiness.

After the admixture of 5 drops of sil-
ver-nitrate solution, 10 cubic centimeters
of absolute alcohol should not become
turbid or colored even on heating.

A mixture of 10 cubic centimeters of
absolute alcohol and 0.2 cubic centimeter
of potash lye evaporated down to 1 cubic
centimeter should not exhibit an odor of
fusel oil after supersaturation with dilute
sulphuric acid.

Five cubic centimeters of sulphuric
acid, carefully covered, in a test tube,
with a stratum of 5 cubic centimeters of
absolute alcohol, should not form a rose-
colored zone at the surface of contact,
even on standing for some time.

The red color of a mixture of 10 cubic
centimeters of absolute alcohol and 1
cubic centimeter of potassium -perman-
ganate solution should not pass into
yellow before 20 minutes.

Absolute alcohol should not be dyed
by hydrogen sulphide water or by aque-
ous ammonia.

Five cubic centimeters of absolute al-
cohol should not leave behind a weighable
residue after evaporation on water bath.

Absolute Alcohol. — If gelatine be sus-
pended in ordinary alcohol it will absorb
the water, but as it is insoluble in alcohol,
that substance will remain behind, and
thus nearly absolute alcohol will be ob-
tained without distillation.

Perfumed Denaturized Alcohol. —
East India lemon oil 1,250 parts

Mirbane oil 1,000 parts

Cassia oil 50 parts

Clove oil 75 parts

Lemon oil 100 parts

Amyl acetate 500 parts

Spirit (95 per cent) . 7,000 parts

Dissolve the oils in the spirit and add
the amyl acetate. The mixture serves
for destroying the bad odor of denatur-
ized spirit in distilling. Use 50 parts of
the perfume per 1,000 parts of spirit.

Solid Alcohol.— I.— Heat 1,000 parts of
denaturized alcohol (90 per cent) in a flask
of double the capacity on the water bath
to about 140° F., and then mix with 28 to
30 parts of well-dried, rasped Venetian
soap and 2 parts of gum lac. After re-
peated shaking, complete dissolution
will take place. The solution is put,
while still warm, into metallic vessels,
closing them up at once and allowing the
mixture to cool therein. The admix-
ture of gum lac effects a better preserva-
tion and also prevents the evaporation of
the alcohol. On lighting the solid spirit
the soap remains behind.

II. — Smaragdine is a trade name for
solidified alcohol. It consists of alcohol
and gun cotton, colored with malachite
green. It appears in the market in the
form of small cubes.

Alcohol in Fermented Beers. — Expe-
rience has shown that \ pound of sugar
to 1 gallon of water yields about 2 per cent
of proof spirit, or about 1 per cent of ab-
solute alcohol. Beyond this amount it is
not safe to go, if the legal limit is to be
observed, yet a ginger beer brewed with
| pound per gallon of sugar would be a
very wishy-washy compound, and there
is little doubt that a much larger quantity
is generally used. The more sugar that
is used — up to H or 1J pounds per gallon
— the better the • drink will be and the
more customers will relish it; but it will
be as "strong" as lager and contain per-
haps 5 per cent of alcohol, which will make
it anything but a "temperance" drink.
Any maker who is using as much as even
£ pound of sugar per gallon is bound to
get more spirit than the law allows.
Meanwhile it is scarcely accurate to term
ginger beers, etc., non-alcoholic.

Alcohol Deodorizer. —

Alcohol 160 ounces

Powdered quicklime. 300 grains

Powdered alum 150 grains

Spirit of nitrous ether 1£ drachms

Mix the lime and alum intimately by

'trituration; add the alcohol and shake

well; then add the spirit of nitrous ether;

set aside for 7 days and filter through

animal charcoal.

Denaturized Alcohol. — There are two
general classes or degrees of denaturizing,
viz., the "complete" and the "incom-
plete," according to the purpose for

ALCOHOL

which the alcohol so denaturized is to be
ultimately used.

J. — Complete denaturization by the
German system is accomplished by the
addition to every 100 liters (equal to 26£
gallon* > of spirits:

(a) '1 "wo and one-half liters of the "stand-
ard* 'leiiaturizer, made of 4 parts of
wood alcohol, 1 part of pyridiiie (a nitro-
genous base obtained by distilling bone
oil or coal tar), with the addition of 50
grams to each liter of oil of lavender or
rosemary.

(6) One and one-fourth liters of the
above "standard" and 2 liters of benzol
with every 100 liters of alcohol.

II. — Incomplete denaturization — i. e.,
sufficient to prevent alcohol from being
drunk, but not to disqualify it from use
for various special purposes, for which
the wholly denaturized spirits would be
unavailable — is accomplished by several
methods as follows, the quantity and
nature of each substance given being
the prescribed dose for each 100 liters
(26* gallons) of spirits:

(d~) Twenty liters of solution of shellac,
containing 1 part gum to 2 parts alcohol
of 90-per-cent purity. Alcohol for the
manufacture of celluloid and pegamoid
is denaturized.

(e) By the addition of 1 kilogram of
camphor or 2 liters oil of turpentine or
\ liter benzol to each 100 liters of spirits.
Alcohol to be used in the manufacture
of ethers, aldehyde, agaricin, white lead,
bromo-silver gelatines, photographic pa-
pers and plates, electrode plates, collo-
dion, salicylic acid and salts, aniline
chemistry, and a great number of other
purposes, is denaturized by the addition
of —

(/) Ten liters sulphuric ether, or 1
part of benzol, or \ part oil of turpentine,
or 0.025 part of animal oil.

For the manufacture of varnishes and
inks alcohol is denaturized by the addi-
tion of oil of turpentine or animal oil,
and for the production of soda soaps by
the addition of 1 kilogram of castor oil.
Alcohol for the production of lanolin is
prepared by adding 5 liters of benzine to
each hectoliter of spirits.

ALE.

The ale of the modern brewer is man-
ufactured in several varieties, which are
determined by the wants of the consumer
and the particular market for which it
is intended. Thus, the finer kinds of
Burton, East India, Bavarian, and other
like ales, having undergone a thorough

fermentation, contain only a small quan-
tity of undecomposed sugar and gum,
varying from 1 to 5 per cent. Some of
these are highly "hopped" or "bittered,"
the further to promote their preservation
during transit and change of temper-
ature. Mild or sweet ales, on the con-
trary, are less accentuated by lengthened
fermentation, and abound in saccharine
and gummy matter. They are, there-
fore, more nutritious, though less intox-
icating, than those previously referred to.

In brewing the finer kinds of ales, pale
malt and the best hops of the current
season's growth are always employed;
and when it is desired to produce a liquor
possessing little color, very great atten-
tion is paid to their selection. With the
same object, the boiling is conductedwith
more than the usual precautions, and the
fermentation is carried on at a somewhat
lower temperature than that commonly
allowed for other varieties of beer. For
ordinary ale, intended for immediate use,
the malt may be all pale; but, if the liquor
be brewed for keeping, and in warm
weather, when a slight color is not objec-
tionable, one-fifth, or even one-fourth of
amber malt may be advantageously em-
ployed. From 4i to 6 pounds of hops is
the quantity commonly used to the one-
fourth of malt, for ordinary ales; and 7
pounds to 10 pounds for "keeping" ales.
The proportions, however, must greatly
depend on the intended quality and de-
scription of the brewing and the period
that will be allowed for its maturation.

The stronger varieties of ale usually
contain from 6 to 8 per cent of "absolute
alcohol"; ordinary strong ale, 41 to 6 per
cent; mild ale, 3 to 4 percent; and table ale,
1 to 1* per cent (each by volume); togeth-
er with some undecomposed saccharine,
gummy, and extractive matter, the bitter
and narcotic principles of the hop, some
acetic acid formed by the oxidation of
the alcohol, and very small and variable
quantities of mineral and saline matter.

Ordinary ale-wort (preferably pale),
sufficient to produce 1 barrel, is slowly
boiled with about 3 handfuls of hops,
and 12 to 14 pounds of crushed groats,
until the whole of the soluble matter of
the latter is extracted. The resulting
liquor, after being run through a coarse
strainer and become lukewarm, is fer-
mented with 2 or 3 pints of yeast; and,
as soon as the fermentation is at its
height, is either closely bunged up for
draft or is at once put into strong stone-
ware bottles, which are then well corked
and wired.

White ale is said to be very nutritious,
though apt to prove laxative to those un-

ALLOYS

accustomed to its use. It is drunk in a
state of effervescence or lively fermenta-
tion; the glass or cup containing it being
kept in constant motion, when removed
irom the mouth, until the whole is con-
sumed, in order that the thicker portion
may not subside to the bottom.

ALE, GINGER:

See Beverages.

ALFENIDE METAL:
See Alloys.

ALKALI, HOW TO DETECT:

See Soaps.

ALKALOIDS, ANTIDOTES TO:

See Atropine.

Alloys

No general rules can be given for
alloying metals. Alloys differing greatly
in fusibility are commonly made by
adding the more fusible ones, either in
the melted state or in small portions at a
time, to the other melted or heated to
the lowest possible temperature at which
a perfect union will take place between
them. The mixture is usually effected
under a flux, or some material that will
promote liquefaction and prevent vola-
tilization and unnecessary exposure to
the air. Thus, in melting lead and tin
together for solder, rosin or tallow is
thrown upon the surface is rubbed with
sal ammoniac; and in combining some
metals, powdered charcoal is used for
the same purpose. Mercury or quick-
silver combines with many metals in the
cold, forming AMALGAMS, or easily fusible
alloys (q. v.).

Alloys generally possess characteris-
tics unshared by their component metals.
Thus, copper and zinc form brass,
which has a different density, hardness,
and color from either of its constituents.
Whether the metals tend to unite in
atomic proportions or in any definite
ratio is still undetermined. The evi-
dence afforded by the natural alloys of
gold and silver, and by the phenomena
accompanying the cooling of several
alloys from the state of fusion, goes far
to prove that such is the case (Rud-
berg). The subject is, however, one of
considerable difficulty, as metals and
metallic compounds are generally solu-
ble in each other, and unite by simple
fusion and contact. That they do not
combine indifferently with each other,
but exercise a species of elective affinity
not dissimilar to other bodies, is clearly

shown by the homogeneity and superior
quality of many alloys in which the con-
stituent metals are in atomic proportion.
The variation of the specific gravity and
melting points of alloys from the mean
of those of their component metals also
affords strong evidence of a chemical
change having taken place. Thus, alloys
generally melt at lower temperatures than
their separate metals. They also usually
possess more tenacity and hardness than
the mean of their constituents.

Matthiessen found that when weights
are suspended to spirals of hard-drawn
wire made of copper, gold, or platinum,
they become nearly straightened when
stretched by a moderate weight; but
wires of equal dimensions composed of
copper-tin (12 per cent of tin), silver-
platinum (36 per cent of platinum), and
gold-copper (84 percent of copper) scarce-
ly undergo any permanent change in form
when subjected to tension by the same
weight.

The same chemist gives the following
approximate results upon the tenacity
of certain metals and wires hard-drawn
through the same gauge (No. 23) :

Pounds

Copper, breaking strain 25-30

Tin, breaking strain under 7

Lead, breaking strain under 7

Tin-lead (20% lead) about 7

Tin-copper (12% copper). . .about 7

Copper-tin (12% tin) about 80-90

Gold (12% tin) 20-25

Gold-copper (8.4% copper) 70-75

Silver (8.4% copper) 45-50

Platinum (8.4% copper) 45-50

Silver-platinum (30% platinum) . 75-80

On the other hand, the malleability,
ductility, and power of resisting oxygen
of alloys is generally diminished. The
alloy formed of two brittle metals is
always brittle; that of a brittle and a duc-
tile metal, generally so; and even two
ductile metals sometimes unite to form
a brittle compound. The alloys formed
of metals having different fusing points
are usually malleable while cold and
brittle while hot. The action of the air
on alloys is generally less than on their
simple metals, unless the former are
heated. A mixture of 1 part of tin and
3 parts of lead is scarcely acted on at
common temperatures; but at a red heat
it readily takes fire, and continues to
burn for some time like a piece of bad
turf. In like manner, a mixture of tin
and zinc, when strongly heated, de-
composes both moist air and steam with
rapidity.

The specific gravity of alloys is rarely

ALLOYS

the arithmetical mean of that of their
constituents, as commonly taught; and
in many cases considerable condensation
or expansion occurs. When there is a
strong affinity between two metals, the
density of their alloy is generally greater
than the calculated mean; and vice versa,
as may be seen in the following table:

ALLOYS HAVING A DENSITY
Greater than the Mean of their Constit-
uents:

Copper and bismuth,
Copper and palladium,
Copper and tin,
Copper and zinc,
Gold and antimony,
Gold and bismuth,
Gold and cobalt,
Gold and tin,
Gold and zinc,
Lead and antimony,
Palladium and bismuth,
Silver and antimony,
Silver and bismuth,
Silver and lead,
Silver and tin,
Silver and zinc.

Less than the Mean of their Constituents:
Gold and copper,
Gold and iridium,
Gold and iron,
Gold and lead,
Gold and nickel,
Gold and silver,
Iron and antimony,
Iron and bismuth,
Iron and lead,
Nickel and arsenic,
Silver and copper,
Tin and antimony,
Tin and lead,
Tin and palladium,
Zinc and antimony.

Compounding Alloys. — Considerable
experience is necessary to insure success
in compounding alloys, especially when
the metals employed vary greatly in
fusibility and volatility. The following
are rules supplied by an experienced
workman:

1. Melt the least fusible, oxidizable,
and volatile first, and then add the others
heated to their point of fusion or near it.
Thus, if it is desired to make an alloy of
exactly 1 part of copper and 3 of zinc, it
will be impossible to do so by putting
proportions of the metals in a crucible
and exposing the whole to heat. Much
of the zinc would fly off in vapor before
the copper was melted. First, melt the
copper and add the zinc, which has been
melted in another crucible. The zinc

should be in excess, as some of it will be
lost anyway.

2. Some alloys, as copper and zinc,
copper and arsenic, may be formed by
exposing heated plates of the least fusi-
ble metal to the vapor of the other. In
making brass in the large way, thin plates
of copper are dissolved, as it were, in
melted zinc until the proper proportions
have been obtained.

3. The surface of all oxidizable metals
should be covered with some protecting
agent, as tallow for very fusible ones,
rosin for lead and tin, charcoal for zinc,
copper, etc.

^4. Stir the metal before casting and
if possible, when casting, with a white-
wood stick; this is much better for the
purpose than an iron rod.

5. If possible, add a small portion of
old alloy to the new. If the alloy is re-
quired to make sharp castings and
strength is not a very great oVject, the
proportion of old alloy to the new should
be increased. In all cases a new or
thoroughly well-cleansed crucible should
be used.

To obtain metals and metallic alloys
from their compounds, such as oxides,
sulphides, chlorides, etc., a process lately
patented makes use of the reducing
qualities of aluminum or its alloys with
magnesium. The finely powdered ma-
terial (e. g., chromic oxide) is placed in a
crucible mixed with aluminum oxide.
The mixture is set afire by means of a
soldering pipe or a burning magnesium
wire, and the desired reaction takes place.
For igniting, one may also employ with
advantage a special priming cartridge
consisting of pulverized aluminum to
which a little magnesium may be mixed,
and peroxide of magnesia, which is
shaped into balls and lighted with a
magnesium wire. By suitable additions
to the pulverized mixture, alloys con-
taining aluminum, magnetism, chro-
mium, manganese, copper, iron, boron,
silicic acid, etc., are obtained.

ALUMINUM ALLOYS.

M. H. Pecheux has contributed to the
Comptes Rendus, from time to time, the
results of his investigations into the alloys
of aluminum with soft metals, and the
following constitutes a brief summary of
his observations:

Lead. — When aluminum is melted
and lead is added in proportion greater
than 10 per cent, the metals separate on
cooling into three layers — lead, alumi-
num, and between them an alloy contain-
ing from 90 to 97 per cent of aluminum.

ALLOYS

The albys with 93, 95, and 98 per cent have
densities of 2.745, 2.674, and 2.600 re-
spectively, and melting points near that
of aluminum. Their color is like that
of aluminum, but they are less lustrous.
All are malleable, easily cut, softer than
aluminum, and have a granular fracture.
On remelting they become somewhat
richer in lead, through a tendency to
liquation. They do not oxidize in moist
air, nor at their melting points. They
are attacked in the cold by hydrochloric
and by strong sulphuric acid, with evo-
lution of hydrogen, and by strong nitric
acid when hot; strong solution of po-
tassium hydroxide also attacks them.
They are without action on distilled
water, whether cold or hot.

Zinc. — Well-defined alloys were ob-
tained, corresponding to the formulas
Zn3Al, Zn2Al, ZnAl, ZnAl2, ZnAl3,
ZnAl4, ZnAl6, ZnAl10, ZnAl12. Their
melting points and densities all lie be-
tween those of zinc and aluminum, and
those containing most zinc are the hard-
est. They are all dissolved by cold
hydrochloric acid and by hot dilute nitric
acid. Cold concentrated nitric acid at-
tacks the first three, and cold dilute acid
the first five. The Zn3Al, ZnAlR, ZnAl10,
and ZnAl12 are only slightly affected by
cold potassium-hydroxide solution; the
others are strongly attacked, potassium
zincate and aluminate probably being
formed.

Tin. — A filed rod of tin-aluminum alloy
plunged in cold water gives off for some
minutes bubbles of gas, composed of
hydrogen and oxygen in explosive pro-
portions. An unfiled rod, or a filed rod
of either aluminum or tin, is without
action, though the unfiled rod of alloy
will act on boiling water. The filed rod
of alloy, in faintly acid solution of cop-
per or zinc sulphate, becomes covered
with a deposit of copper or zinc, while
bubbles of oxygen are given off. M.
Pecheux believes that the metals are truly
alloyed only at the surface, and that filing
lays bare an almost infinitely numerous
series of junctions of the two metals,
which, heated by the filing, act as ther-
mocouples.

Bismuth. — By the method used for
lead, bismuth alloys were obtained con-
taining 75, 85, 88, and 94 per cent of
aluminum, with densities 2.86, 2.79,
2.78. and 2.74 respectively. They were
sonorous, brittle, finely grained, and
homogeneous, silver-white, and with
melting points between those of their con-
stituents, but nearer that of aluminum.
They are not oxidized in air at the tem-

perature of casting, but are readily at-
tacked by acids, concentrated or dilute,
and by potassium-hydroxide solution.
The filed alloys behave like those of tin,
but still more markedly.

Magnesium. — These were obtained
with 66, 68, 73, 77, and 85 per cent
of aluminum, and densities 2.24, 2.47,
2.32, 2.37, 2.47. They are brittle, with
large granular fracture, silver-white, file
well, take a good polish, and have melt-
ing points near that of aluminum.
Being viscous when melted, they are dif-
ficult to cast, and when slowly cooled
form a gray, spongy mass which cannot
be remelted. They do not oxidize in
air at the ordinary temperatures, but
burn readily at a bright-red heat. They
are attacked violently by acids and by
potassium-hydroxide solution, decom-
pose hydrogen peroxide, and slowly de-
compose water even in the cold.

Tin, Bismuth, and Magnesium. —The
action of water on these alloys just re-
ferred to has been recently demonstrated
on a larger scale, 5 to 6 cubic centimeters
of hydrogen having been obtained in 20
minutes from 2 cubic centimeters of the
filed tin alloy. The bismuth alloy yield-
ed more hydrogen than the tin alloy, and
the magnesium alloy more than the bis-
muth alloy. The oxygen of the decom-
posed water unites with the aluminum.
Larger quantities of hydrogen are ob-
tained from copper-sulphate solution,
apart from the decomposition of this
solution by precipitation of copper at the
expense of the metal alloyed with the
aluminum. The alloys of aluminum
with zinc and lead do not decompose
pure water, but do decompose the water
of copper-sulphate solution, and, more
slowly, that of zinc-sulphate solution.

Aluminum is a metal whose properties
are very materially influenced by a pro-
portionately small addition of copper.
Alloys of 99 per cent aluminum and 1 per
cent of copper are hard, brittle, and bluish
in color; 95 per cent of aluminum and 5
per cent of copper give an alloy which can
be hammered, but with 10 per cent of cop-
per the metal can no longer be worked.
With 80 per cent and upward of copper
are obtained alloys of a beautiful yellow
color, and these mixtures, containing from
5 to 10 percent of aluminum and from 90
to 95 per cent of copper, are the genuine
aluminum bronzes. The 10-per-cent al-
loys are of a pure golden-yellow color;
with 5 per cent of aluminum they are
reddish yellow, like gold heavily alloyed
with copper, and a 2-per-cent admix-
ture is 01 an almost pure copper red

ALLOYS

As the proportion of copper increases,
the brittleness is diminished, and alloys
containing 10 per cent and less of aluminum
can be used for industrial purposes, the
best consisting of 90 per cent of copper and
10 of aluminum. The hardness of this
alloy approaches that of the general
bronzes, whence its name. It can be
stretched out into thin sheets between
rollers, worked under the hammer, and
shaped as desired by beating or pressure,
in powerful stamping presses. On ac-
count of its hardness it takes a fine pol-
ish, and its peculiar greenish-gold color
resembles that of gold alloyed with cop-
per and silver together.

Alloys with a still greater proportion of
copper approach this metal more and
more nearly in their character; the color
of an alloy, for instance, composed of
95 per cent of copper and 5 per cent of alu-
minum, can be distinguished from pure
gold only by direct comparison, and the
metal is very hard, and also very mal-
leable.

Electrical Conductivity of Aluminum
Alloys. — During three years' exposure to
the atmosphere, copper-aluminum alloys
in one test gradually diminished in con-
ductivity in proportion to the amount of
copper they contained. The nickel-copper
aluminum alloys, which show such re-
markably increased tensile strength as
compared with good commercial alumi-
num, considerably diminished in total con-
ductivity. On the other hand, the man-
ganese-copper aluminum alloys suffered
comparatively little diminution in total
conductivity, and one of them retained
comparatively high tensile strength. It
was thought that an examination of
the structure of these alloys by aid of
microphotography might throw some
light on the great difference which exists
between some of their physical proper-
ties. For instance, a nickel-copper alu-
minum alloy has 1.6 times the tensile
strength of ordinary commercial alumi-
num. Under a magnification of 800
diameters practically no structure could
be discovered. Considering the re-
markable crystalline structure exhibited
by ordinary commercial aluminum near
the surface of an ingot, when allowed to
solidify at an ordinary rate, the want of
structure in these alloys must be attrib-
uted to the process of drawing down.
The inference is that the great differ-
ence which exists between their tensile
strengths and other qualities is not due
to variation in structure.

Colored Alloys of Aluminum. — A pur-
ple scintillating composition is produced

by an alloyage of 78 parts of gold and 22
parts aluminum, \\ith platinum a gold-
colored alloy is obtained; with palladium
a copper-colored one; and with cobalt
and nickel one of a yellow color. Easily
fusible metals of the color of aluminum
give white alloys. Metal difficult of
fusion, such as iridium, osmium, tita-
nium, etc., appear in abnormal tones of
color through such alloyages.

Aluminum -Brass. — Aluminum, 1 per
cent; specific gravity, 8.35 ; tensile strength,
40. Aluminum, 3 per cent; specific grav-
ity, 8.33; tensile strength, 65. The last
named is harder than the first.

Aluminum-Copper. — Minikin is prin-
cipally aluminum with a small percent-
age of copper and nickel. It is alloyed
by mixing the aluminum and copper,
then adding the nickel. It resembles
palladium and is very strong.

Aluminum - Silver. — I. — Silver, 3 per
cent; aluminum, 97 per cent. A hand-
some color.

II. — A silver aluminum that is easily
worked into various articles contains
about one-fourth silver and three-fourths
of aluminum.

Aluminum -Tin. — Bourbon metal is
composed of equal parts of aluminum
and tin; it solders readily.

Aluminum -Tungsten. — A new metal
alloy consisting of aluminum and tung-
sten is used of late in France in the (4m-
struction of conveyances, especially (Car-
riages, bicycles, and motor vehicles.
The French call it partinium; the com-
position of the new alloy varies according
to the purposes for which it is used. It
is considerably cheaper than aluminum,
almost as light, and has a greater resist-
ance. The strength is stated at 32 to 37
kilograms per square millimeter.

Aluminum-Zinc. — Zinc, 3 per cent:
aluminum, 97 per cent. Very ductile,
white, and harder than aluminum.

AMALGAMS :

See Fusible Alloys.

Anti-Friction Bearing or Babbitt Met-
als.— These alloys are usually supported by
bearings of brass, into which it is poured
after they have been tinned, and heated
and put together with an exact model of
the axle, or other working piece, plastic
clay being previously applied, in the
usual manner, as a lute or outer mold.
Soft gun metal is also excellent, and is
much used for bearings. They all be-
come less heated in working than the

ALLOYS

harder metals, and less grease or oil is con-
sequently required when they are used.

I. — An anti-friction metal of excellent
quality and one that has been used with
success is made as follows : 17 parts
zinc; 1 part copper; li parts antimony;
prepared in the following way: Melt the
copper in a small crucible, then add the
antimony, and lastly the zinc, care being
taken not to burn the zinc. Burning
can be prevented by allowing the copper
and antimony to cool slightly before add-
ing the zinc. This metal is preferably
cast into the shape desired and is not
used as a lining metal because it requires
too great a heat to pour. It machines
nicely and takes a fine polish on bearing
surfaces. It has the appearance of
aluminum when finished. Use a lubri-
cating oil made from any good grade of
machine oil to which 3 parts of kerosene
have been added.

II. — Copper, 6 parts; tin, 12 parts;
lead, 150 parts; antimony, 30 parts;
wrought iron, 1 part; cast iron, 1 part.
For certain purposes the composition is
modified as follows: Copper, 16 parts;
tin, 40 parts; lead, 120 parts; antimony,
24 parts; wrought iron, 1 part; cast iron,
1 part. In both cases the wrought iron
is cut up in small pieces, and in this state
it will melt readily in fused copper and
cast iron. After the mixture has been
well stirred, the tin, lead,. and antimony
are added; these are previously melted in
separate crucibles, and when mingled the
whole mass is again stirred thoroughly.
The product may then be run into ingots,
to be employed when needed. When
run into the molds the surface should be
well skimmed, for in this state it oxidizes
rapidly. The proportions may be varied
without materially affecting the results.

III.— From tin, 16 to 20 parts; anti-
mony, 2 parts; lead, 1 part; fused to-
gether, and then blended with copper,
80 parts. Used where there is much
friction or high velocity.

IV. — Zinc, 6 parts; tin, 1 part; cop-
per, 20 parts. Used when the metal is
exposed to violent shocks.

V. — Lead, 1 part; tin, 2 parts; zinc,
4 parts; copper, 68 parts. Used when
the metal is exposed to heat.

VI. — Tin, 48 to 50 parts; antimony, 5
parts; copper, 1 part.

VII.— (Fenton's.) Tin, with some
zinc, and a little copper.

VIII. — (Ordinary.) Tin, or hard
pewter, with or without a small portion
of antimony or copper. Without the
last it is apt to spread out under the
weight of heavy machinery. Used for
the bearings of locomotives, etc.

The following two compositions are
for motor and dynamo shafts: 100
pounds tin; 10 pounds copper; 10 pounds
antimony.

83A- pounds tin; 8-J pounds antimony;
8J pounds copper.

IX.— Lead, 75 parts; antimony, 23
parts; tin, 2 parts.

X. — Magnolia Metal. — This is com-
posad of 40 parts of lead, 7* parts of
antimony, 2i of tin, J of bismuth, J of
aluminum, and J of graphite. It is used
as an anti-friction metal, and takes its
name from its manufacturer's mark,
a magnolia flower.

ARGENTAN :

See German Silver, under this title.

BELL METAL.

The composition of bell metal raries
considerably, as may be seen below:

I. — (Standard.) Copper, 78 parts;
tin, 22 parts; fused together and cast.
The most sonorous of all the alloys of
copper and tin. It is easily fusible, and
has a fine compact grain, and a vitreous
conchoidal and yellowish-red fracture.
According to Klaproth, the finest-toned
Indian gongs have this composition.

II. — (Founder's Standard.) Copper,
77 parts; tin, 21 parts; antimony, 2 parts.
Slightly paler and inferior to No. I.

III. — Copper, 80 parts; tin, 20 parts.
Very deep-toned and sonorous. Used
in China and India for the larger gongs,
tam-tams, 'etc.

IV.— Copper, 78 to 80 parts; tin, 22 to
20 parts. Usual composition of Chinese
cymbals, tam-tams, etc.

V.— Copper, 75 (= 3) parts; tin, 25
(=1) part. Somewhat brittle. In frac-
ture, semivitreous and bluish-red. Used
for church and other large bells.

VI.— Copper, 80 parts; tin, 10| parts;
zinc, 5 1 parts; lead, 4J parts. English
bell metal, according to Thomson. In-
ferior to the last; the lead being apt to
form isolated drops, to the injury of the
uniformity of the alloy.

VIL— Copper, 68 parts; tin, 32 parts.
Brittle; fracture conchoidal and ash-

gray. Best proportions for house bells,
and bells, etc.; for which, however, 2
of copper and 1 of tin is commonly
substituted by the founders.

VIII.— Copper, 72 parts; tin, 26* parts;
iron, 1 A parts. Used by the Paris houses
for the bells of small clocks.

IX. — Copper, 72 parts; tin, 26 parts;
zinc, 2 parts. Used, like the last, for
very small bells.

X.— Copper, 70 parts; tin, 26 parts;

ALLOYS

zinc, 2 parts. Used for the bells of repeat-
ing watches.

XI. — Melt together copper, 100 parts;
tin, 25 parts. After being cast into the
required object, it should be made red-
hot, and then plunged immediately into
cold water in order to impart to it the
requisite degree of sonorousness. For
cymbals and gongs.

XII. — Melt together copper, 80 parts;
tin, 20 parts. When cold it has to be
hammered out with frequent annealing.

XIII. — Copper, 78 parts; tin, 22 parts;
This is superior to the former, and it can
be rolled out. For tam-tams and gongs.

XIV.— Melt together copper, 72 parts;
tin, 26 to 56 parts; iron -fy part. Used
in making the bells of ornamental French
clocks.

Castings in bell metal are all more or
less brittle; and, when recent, have a
color varying from a dark ash-gray to
grayish-white, which is darkest in the
more cuprous varieties, in which it
turns somewhat on the yellowish-red or
bluish-red. The larger the proportion
of copper in the alloy, the deeper and
graver the tone of the bells formed of
it. The addition of tin, iron, or zinc,
causes them to give out their tones sharp-
er. Bismuth and lead are also often
used to modify the tone, which each
metal affects differently. The addition
of antimony and bismuth is frequently
made by the founder to give a more crys-
talline grain to the alloy. All these
conditions are, however, prejudicial to
the sonorousness of bells, and of very
doubtful utility. Rapid refrigeration
increases the sonorousness of all these
alloys. Hence M. D'Arcet recommends
that the "pieces" be heated to a cherry-
red after they are cast, and after having
been suddenly plunged into cold water,
that they be submitted to well-regulated
pressure by skillful hammering, until they
assume their proper form ; after which they
are to be again heated and allowed to cool
slowly in the air. This is the method
adopted by the Chinese with their gongs,
etc., a casing of sheet iron being em-
ployed by them to support and protect
the pieces during the exposure to heat.
In a general way, however, bells are
formed and completed by simple casting.
This is necessarily the case with all very
large bells. Where the quality of their
tones is the chief object sought after, the
greatest care should be taken to use com-
mercially pure copper. The presence
of a very little lead or any similar metal
greatly lessens the sonorousness of this
alloy; while that of silver increases it.

The specific gravity of a large bell is

seldom uniform through its whole sub-
stance; nor can the specific gravity from
any given portion of its constituent met-
als be exactly calculated owing to the
many interfering circumstances. The
nearer this uniformity is approached, or,
in other words, chemical combination is
complete, the more durable and finer-
toned will be the bell. In general, it is
found necessary to take about one-tenth
more metal than the weight of the in-
tended bell, or bells, in order to allow for
waste and scorification during the opera-
tions of fusing and casting.

BISMUTH ALLOYS.

Bismuth possesses the unusual quality
of expanding in cooling. It is, there-
fore, introduced in many alloys to reduce
or check shrinkage in the mold.

For delicate castings, and for taking
impressions from dies, medals, etc., va-
rious bismuth alloys are in use, whose
composition corresponds to the follow-
ing figures:

I II III IV

Bismuth 6 5 2 8

Tin 3 2 1 3

Lead 13 3 1 5

V.— Cliche Metal.— This alloy is com-
posed of tin, 48 parts; lead, 32.5; bis-
muth, 9; and antimony, 10.5. It is es-
pecially well adapted to dabbing rollers
for printing cotton goods, and as it pos-
sesses a considerable degree of hardness,
it wears well.

VI. — For filling out defective places in
metallic castings, an alloy of bismuth 1
part, antimony 3, lead 8, can be ad-
vantageously used.

VII.— For Cementing Glass.— Most
of the cements in ordinary use are dis-
solved, or at least softened, by petro-
leum. An alloy of lead 3 parts, tin 2,
bismuth 2.5, melting at 212° F., is not
affected by petroleum, and is therefore
very useful for cementing lamps made of
metal and glass combined.

LIPOWITZ'S BISMUTH ALLOY :
See Cadmium Alloys.

BRASS.

In general brass is composed of two-
thirds copper and one-third zinc, but a
little lead or tin is sometimes advanta-
geous, as the following:

I. — Red copper, 66 parts; zinc, 34
parts; lead, 1 part.

II. — Copper, 66 parts; zinc, 32 parts;
tin, 1 part; lead, 1 part.

III.— Copper, 64.5 parts; zinc, 33.5
parts; lead, 1.5 parts; tin, 0.5 part.

Brass -Aluminum. — A small addition of
aluminum to brass (1.5 to 8 per cent) great-

ALLOYS

ly increases its hardness and elasticity,
and this alloy is also easily worked for any
purpose. Brass containing 8 per cent of
aluminum has the valuable property of
being but slightly affected by acids or gases.
A larger percentage of aluminum makes
the brass brittle. It is to be noted that
aluminum brass decreases very materi-
ally in volume in casting, and the casts
must be copied slowly or they will be
brittle. It is an alloy easily made, and
its low price, combined with its excellent
qualities, would seem to make it in many
cases an advantageous substitute for the
expensive phosphorous bronze.

Bristol Brass (Prince's Metal).— This
alloy, which possesses properties similar
to those of French brass, is prepared in
the following proportions:

I II III

Copper 75.7 67.2 60.8

Zinc 24.3 32.8 39.2

Particular care is required to prevent
the zinc from evaporating during the fus-
ing, and for this purpose it is customary
to put only half of it into the first melting,
and to add the remainder when the first
mass is liquefied.

Brass -Iron (Aich's Metal).— This is
a variety of brass with an admixture of
iron, which gives it a considerable degree
of tenacity. It is especially adapted for
purposes which require a hard and, at
the same time, tenacious metal. Analyses
of the various kinds of this metal show
considerable variation in the proportions.
Even the amount of iron, to which the
hardening effect must be attributed, may
vary within wide limits without materi-
ally modifying the tenacity which is the
essential characteristic of this alloy.

I. — The best variety of Aich's metal
consists of copper, 60 parts; zinc, 38.2;
iron, 1.8. The predominating quality of
this alloy is its hardness, which is claimed
to be not inferior to that of certain kinds
of steel. It has a beautiful golden-yellow
color, and is said not to oxidize easily, a
valuable property for articles exposed to
the action of air and water.

II. — Copper, 60.2 parts; zinc, 38.2;
iron, 1.6. The permissible variations
in the content of iron are from 0.4 to 3
per cent.

Sterro metal may properly be consid-
ered in connection with Aich's metal,
since its constituents are the same and
its properties very similar. The principal
difference between the two metals is
that sterro metal contains a much larger
amount of iron. The composition of
this alloy varies considerably with dif-
ferent manufacturers.

III. — Two varieties of excellent qual-
ity are the product of the Rosthorn fac-
tory, in Lower Austria — copper, 55.33
parts; zinc, 41.80; iron, 4.66. Also

IV. — English sterro metal (Gedge's
alloy for ship sheathing), copper, 60
parts; zinc, 38.125; iron, 1.5.

The great value of this alloy lies in its
strength, which is equaled only by that
of the best steel. As an illustration of
this, a wrought-iron pipe broke with a
pressure of 267 atmospheres, while a
similar pipe of sterro metal withstood the
enormous pressure of 763 atmospheres
without cracking. Besides its remark-
able strength, it possesses a high degree
of elasticity, and is, therefore, particular-
ly suitable for purposes which require
the combination of these two qualities,
such as the construction of hydraulic
cylinders. It is well known that these
cylinders, at a certain pressure, begin to
sweat, that is, the interior pressure is so
great that the water permeates through
the pores of the steel. With a sterro
metal cylinder, the pressure can be con-
siderably increased without any mois-
ture being perceptible on the outside of
the cylinder.

Sterro metal can be made even more
hard and dense, if required for special
purposes, but this is effected rather by
mechanical manipulation than by any
change in the chemical composition. If
rolled or hammered in heat, its strength
is increased, and it acquires, in addition,
an exceedingly high degree of tenacity.
Special care must be taken, however, in
hammering not to overheat the metal,
as in this case it would become brittle and
might crack under the hammer. Sterro
metal is especially suitable for all the
purposes for which the so-called red
metal has been in the past almost ex-
clusively used. Axle bearings, for ex-
ample, made of sterro metal have such
excellent qualities that many machine
factories are now using this material
entirely for the purpose.

Cast Brass. — The various articles of
bronze, so called, statuettes, clock cases,
etc., made in France, where this industry
has attained great perfection and exten-
sive proportions, are not, in many cases^
genuine bronze, but fine cast brass. Fol-
lowing are the compositions of a few
mixtures of metals most frequently used
by French manufacturers:

Copper Zinc Tin Lead

1 63.70 33.55 2.50 0.25

II 64.45 32.44 0.25 2.86

HI 70.90 24.05 2.00 3.05

IV.. . 72.43 22.75 1.87 2.95

ALLOYS

Their special advantage is that they
can be readily cast, worked with file and
chisel, and easily gilded.

To Cast Yellow Brass. — If good, clean,
yellow brass sand castings are desired,
the brass should not contain over 30 per
cent of zinc. This will assure an alloy of
good color and one which will run free
and clean. Tin or lead may be added
without affecting the property of casting
clean. A mixture of 7 pounds of copper,
3 pounds of spelter, 4 ounces of tin, and
3 ounces of lead makes a good casting
alloy and one which will cut free and is
strong. If a stronger alloy be desired,
more tin may be added, but 4 ounces is
usually sufficient. If the alloy be too
hard, reduce the proportion of tin.

Leaf Brass. — This alloy is also called
Dutch gold, or imitation gold leaf. It
is made of copper, 77.75 to 84.5 parts;
zinc-, 15.5 to 22.25. Its color is pale or
bright yellow or greenish, according to
the proportions of the metals. It has an
unusual degree of ductility.

Malleable Brass.— This metal is af-
fected less by sea water than pure copper,
and was formerly much used for ship
sheathing, and for making nails and
rivets which were to come in contact with
sea water. At the present day it has
lost much of its importance, since all the
larger ships are made of steel. It is
usually composed of copper, 60 to 62
parts; and zinc, 40 to 38 parts. It is
sometimes called yellow metal, or Miintz
metal (called after its inventor), and is
prepared with certain precautions, di-
rected toward obtaining as fine a grain
as possible, experience having shown
that only a fine-grained alloy of uniform
density can resist the action of the sea
water evenly. A metal of uneven den-
sity will wear in holes. To obtain as
uniform a grain as possible, small sam-
ples taken from the fused mass are cooled
quickly and examined as to fracture. If
tney do not show the desired uniform
grain, some zinc is added to the mass.
After it has permeated the whole mass,
a fresh sample is taken and tested, this
being continued until the desired result
is reached. It is scarcely necessary to
remark that considerable experience is
required to tell the correct composition
of the alloy from the fracture. The mass
is finally poured into molds and rolled
cold. Malleable brass can be worked
warm, like iron, being ductile in heat, a
valuable quality.

Experiments with malleable brass
show that all alloys containing up to
58.33 per cent of copper and up to 41.67

per cent of zinc are malleable. There is,
in addition, a second group of such al-
loys, with 61.54 per cent of copper and
38.46 per cent of zinc, which are also
malleable in heat.

The preparation of these alloys re-
quires considerable experience, and is
best accomplished by melting the metals
together in the usual manner, and heating
the fused mass as strongly as possible.
It must be covered with a layer of char-
coal dust to prevent oxidation of the zinc.
The mass becomes thinly fluid, and an
intimate mixture of the constituents is
effected. Small pieces of the same alloy
are thrown into the liquid mass until it
no longer shows a reflecting surface,
when it is cast into ingots in iron molds.
The ingots are plunged into water while
still red-hot, and acquire by this treat-
ment a very high degree of ductility. The
alloy, properly prepared, has a fibrous
fracture and a reddish-yellow color.

Sheet Brass (For Sheet and Wire).—
In the preparation of brass for the manu-
facture of wire, an especially pure qual-
ity of copper must be used; without this,
all efforts to produce a suitable quality of
brass will be in vain. That pure copper
is indispensable to the manufacture of
good, ductile brass may be seen from the
great difference in the composition of the
various kinds, all of which answer their
purpose, but contain widely varying
quantities of copper and zinc. The fol-
lowing table shows the composition of
some excellent qualities of brass suitable
for making sheet and wire:

Brass Sheet — Source

Cop-
per

Zinc

Lead

Tin

Jemappes
Stolberg

64.6
64.8
70.1
68.1
71.5
71.1
70.1
72.73
63.66
70.16
68.98

33.7
32.8
29.26
31.9

28.5
27.6
29.9
27.27
33.02
27.45
29.54

1.4
2.0
0.38

0.2
0.4
0.17

Romilly
Rosthorn (Vienna).
Rosthorn (Vienna).
Rosthorn (Vienna).
Iserlohn & Romilly
Liidenscheid
(Brittle)
Heeermiihl. .

1.3

2.52
0.79
0.97

0.20

Oker

Brass Wire —
England

70.29
71.89
70.16
71.36

29.26
27.63
27.45
28.15

0.28
0.85
0.2

0.17
6.79

Augsburg
Neustadt

Neustadt

71.5

28.5

Neustadt

71.0

27.6

(Good quality) ....
(Brittle)
For wire and sheet.

65.4
65.5
67.0

34.6
32.4
32.0

2.1
0.5

0.5

ALLOYS

As the above figures show, the per-
centage of zinc in the different kinds of
brass lies between 27 and 34. Recently,
alloys containing a somewhat larger
quantity of zinc have been used, it hav-
ing been found that the toughness and
ductility of the brass are increased there-
by, without injury to its tenacity. Al-
loys containing up to 37 per cent of zinc
possess a high degree of ductility in the
cold, and are well adapted for wire and
sheet.

Gilders' Sheet Brass. — Copper, 1 part;
zinc, 1 part; tin, A part; lead, -fa part.
Very readily fusible and very dense.

White Brass. — Birmingham platina is
an alloy of a pure white, almost silver-
white color, remaining unaffected by
tolerably long exposure to the atmos-
phere. Unfortunately this alloy is so
brittle that it can rarely be shaped ex-
cept by casting. It is used only in the
manufacture of buttons. The alloy is
poured into molds giving rather sharp
impressions and allowing the design on
the button (letters or coat of arms) to
stand out prominently with careful
stamping. The composition of this
alloy, also known by the name of plati-
num lead, is as follows:

I II

Copper 46.5 4

Zinc 53.5 16

III. — Zinc, 80 parts; copper, 10 parts;
iron, 10 parts.

BRITANNIA METAL.

Britannia metal is an alloy consisting
principally of tin and antimony. Many
varieties contain only these two metals,
and may be considered simply as tin
hardened with antimony, while others
contain, in addition, certain quantities of
copper, sometimes lead, and occasion-
ally, though rarely on account of its cost,
bismuth. Britannia metal is always of a
silvery-white color, with a bluish tinge,
and its hardness makes it capable of
taking a high polish, which is not lost
through exposure to the air. Ninety per
cent of tin and 10 per cent of antimony
gives a composition which is the best for
many purposes, especially for casting, as
it fills out the molds well, and is readily
fusible. In some cases, where articles
made from it are to be subjected to con-
stant wear, a harder alloy is required.
In the proportions given above, the metal
is indeed much harder than tin, but
would still soon give way under usage.

A table is appended, giving the com-
position of some of the varieties of Bri-
tannia metal and their special names.

Tin

Anti-
mony

Cop-
per

Zinc

Lead

English

81.90

16.25

1.84

English

90.62

7.81

1.46

English

90.1

6.3

3.1

6.5

....

English

85.4

9.660.81

3.06

Pewter

81.2

5.7

1.60

11.5

Pewter

89.3

7.6

1.8

Tutania

91.4

0.7

6.3

7.6

Queen's metal

88.5

7.1

3.5

0.9

German

72.0

24.0

4.0

German

84.0

9.0

2.0

5.6

German (for

casting)

20.0

64.0

10.0

6.0

Malleable (for

casting) ....

48.0

3.0

48.0

1.0

Britannia metal is prepared by melting
the copper alone first, then adding a
part of the tin and the whole of the an-
timony. The heat can then be quickly
moderated, as the melting point of the
new alloy is much lower than that of
copper. Finally, the rest of the tin is
added, and the mixture stirred constantly
for some time to make it thoroughly
homogeneous.

An alloy which bears a resemblance
to Britannia metal is Ashberry metal,
for which there are two formulas.

Copper 2

Tin. 8

Antimony 14

Zinc 1

Nickel 2

79
15

2
1

BRONZES.

The composition of bronze must be
effected immediately before the casting,
for bronze cannot be kept in store ready

Erepared. In forming the alloy, the re-
-actory compound, copper, is first melted
separately, the other metals, tin, zinc,
etc., previously heated, being then
added; the whole is then stirred and the
casting carried out without loss of time.
The process of forming the alloy must be
effected quickly, so that there may be no
loss of zinc, tin, or lead through oxida-
tion, and also no interruption to the
flow of metal, as metal added after an
interval of time will not combine per-
fectly with the metal already poured in.
It is important, therefore, to ascertain
the specific weights of the metals, for
the heavier metal will naturally tend to
sink to the bottom and the lighter to
collect at the top. Only in this way,
and by vigorous stirring, can the com-
plete blending of the two metals be
secured. In adding the zinc, great care

ALLOYS

must be taken that the latter sinks at
once to the level of the copper, otherwise
a considerable portion will be volatilized
before reaching the copper. When the
castings are made, they must be cooled
as quickly as possible, for the compo-
nents of bronze have a tendency to form
separate alloys of various composition,
thus producing the so-called tin spots.
This is much more likely to occur with a
slow than with a sudden cooling of the
mass.

Annealing Bronze. — This process is
more particularly employed in the prep-
aration of alloys used in the manufacture
of cymbals, gongs, bells, etc. The alloy
is naturally brittle, and acquires the
properties essential to the purpose for
which it is intended only after casting.
The instruments are plunged into cold
water while red-hot, hammered, re-
heated, and slowly cooled, when they
become soft and sonorous. The alloy
of copper and tin has the peculiar prop-
erty that, whereas steel becomes hard
through cooling, this mixture, when
cooled suddenly, becomes noticeably soft
and more malleable. The alloy is
heated to a dark-red heat, or, in the case
of thin articles, to the melting point of
lead, and then plunged in cold water.
The alloy may be hammered without
splitting or breaking.

Aluminum Bronze. — This is prepared
by melting the finest copper in a cruci-
ble, and adding the aluminum. The
copper is cooled thereby to the thickly
fluid point, but at the moment of the
combination of the two metals, so much
heat is released that the alloy becomes
white hot and thinly fluid. Aluminum
bronze thus prepared is usually brittle,
and acquires its best qualities only after
having been remelted several times. It
may be remarked that, in order to obtain
a bronze of the best quality, only the very
purest copper must be used; with an infe-
rior quality of copper, all labor is wasted.
Aluminum bronze is not affected by ex-
posure to the air; and its beautiful color
makes it very suitable for manufactur-
ing various ornamental articles, includ-
ing clock cases, door knobs, etc.

Aluminum bronze wire is almost as
strong as good steel wire, and castings
made from it are almost as hard as steely
iron; its resistance to bending or sag-
ging is great.

I. — A good formula is 90 to 95 per cent
of aluminum and 5 to 10 per cent of cop-
per, of golden color, which keeps well in
the air, without soon becoming dull and
changing color like pure copper and its

alloys with tin and zinc (bronze, brass,
etc.). It can be cast excellently, can be
filed well and turned, possesses an ex-
traordinary hardness and firmness, and
attains a high degree of polish; it is
malleable and forgeable. On the latter
quality are founded applications which
were formerly never thought of, viz.:
forged works of art for decorative pur-
poses. An alloy of 95 parts aluminum
and 5 parts copper is used here. The
technical working of bronze is not mate-
rially different from that of iron. The
metal, especially in a hot condition, is
worked like iron on the anvil, with ham-
mer and chisel, only that the tempera-
ture to be maintained in forging lies
between dark and light cherry red. If
the articles are not forged in one piece
and the putting together of the separate
parts becomes necessary, riveting or
soldering has to be resorted to. Besides
forging, aluminum bronze is well suited
for embossing, which is not surprising con-
sidering the high percentage of copper.
After finishing the pieces, the metal can
be toned in manifold ways by treatment
with acid.

II. — Copper, 89 to 98 per cent; alu-
minum and nickel, 1 to 2 per cent. Alu-
minum and nickel change in the opposite
way, that is to say, in increasing the per-
centage of nickel the amount of alu-
minum is decreased by the equal quan-
tity. It should be borne in mind that the
best ratio is aluminum, 9.5 per cent;
nickel, 1 to 1.5 per cent at most. In
preparing the alloy a deoxidizing agent
is added, viz., phosphorus to 0.5 per
cent; magnesium to 1.5 per cent. The
phosphorus should always be added in
the form of phosphorous copper or phos-
phor aluminum of exactly determined
percentage. It is first added to the
copper, then the aluminum and the
nickel, and finally the magnesium, the
last named at the moment of liquidity,
are admixed.

III. — A gold bronze, containing 3 to
5 per cent aluminum; specific gravity.
8.37 to 8.15. Handsome golden color.
This alloy oxidizes less on heating than
copper and iron, and is therefore espe-
cially adapted for locomotive fireboxes
and spindles, etc.

IV. — A steel bronze containing on an
average 8.5 per cent aluminum (includ-
ing 1 per cent silicium); specific gravity,
7.7. Very ductile and tough, but slightly
elastic; hence its use is excluded where,
with large demands upon tension and
pressure, no permanent change of form
must ensue. This is changed by work-
ing, such as rolling, drawing, etc. Es-

ALLOYS

pecially useful where infrangibility is de-
sired, as in machinery, ordnance, etc.
At high temperature this bronze loses its
elasticity again.

V. — This contains 8.5 per cent alu-
minum and 1 A to 2 per cent silicium. Its
use is advisable in cases where the metal
is to possess a good elasticity, even in
the cast state, and to retain it after
being worked in red heat.

VI. — An acid bronze, containing 10
per cent aluminum; specific gravity,
7.65. Especially serviceable to resist
oxidation and the action of acids.

VII. — Diamond bronze, containing

10 per cent aluminum and 2 per cent
silicium. Specific gravity, 7.3. Very
hard; of great firmness, but brittle.

Art Bronzes. (See also Aluminum
Bronzes and Japanese Bronzes under
this title.) — I. — Copper, 84 parts; zinc,

11 parts; tin, 5 parts.

II. — Copper, 90 parts; zinc, 6 parts;
tin, 2 parts; lead, 2 parts.

III. — Copper, 65 parts; zinc, 30 parts;
tin, 5 parts.

IV. — Copper, 90 parts; tin, 5 parts; zinc,
4 parts; lead, 1 part.

V. — Copper, 85 parts; zinc, 10 parts;
tin, 3 parts; lead, 2 parts.

VI. — Copper, 72 parts; zinc, 23 parts;
tin, 3 parts; lead, 2 parts.

Statuary Bronze. — Many of the an-
tique statues were made of genuine
bronze, which has advantages for this
purpose, but has been superseded in
modern times by mixtures of metals
containing, besides copper and tin — the
constituents of real bronze — a quantity
of zinc, the alloy thus formed being
really an intermediate product between
bronze and brass. The reason for the
use of such mixtures lies partly in the
comparative cheapness of their produc-
tion as compared with genuine bronze,
and partly in the purpose for which the
metal is to be used. A thoroughly good
statuary bronze must become thinly fluid
in fusing, fill the molds out sharply, allow
of being easily worked with the file, and
must take on the beautiful green coating
called patina, after being exposed to the
air for a short time.

Genuine bronze, however strongly
heated, does not become thin enough to
fill out the molds well, and it is also
difficult to obtain homogeneous castings
from it. Brass alone is also too thickly
fluid, and not hard enough for the re-
quired fine chiseling or chasing of the
finished object. Alloys containing zinc
and tin, in addition to copper, can be
prepared in such a manner that they will

become very thinly fluid, and will give
fine castings which can easily be worked
with the file and chisel. The best pro-
portions seem to be from 10 to 18 per
cent of zinc and from 2 to 4 per cent
of tin. In point of hardness, statuary
bronze holds an intermediate position
between genuine bronze and brass,
being harder and tougher than the latter,
but not so much so as the former.

Since statuary bronze is used prin-
cipally for artistic purposes, much de-
pends upon the color. This can be varied
from pale yellow to orange yellow by
slightly varying the content of tin or
zinc, which must, of course, still be kept
between the limits given above. Too
much tin makes the alloy brittle and dif-
ficult to chisel; with too much zinc, on
the other hand, the warm tone of color is
lost, and the bronze does not acquire a
fine patina.

The best proportions for statuary
bronze are very definitely known at the
present day; yet it sometimes happens
that large castings have not the right
character. They are either defective in
color, or they dc not take on a fine patina,
or they are difficult to chisel. These
phenomena may be due to the use of
impure metals — containing oxides, iron,
lead, etc. — or to improper treatment of
the alloy in melting. With the most
careful work possible, there is a consid-
erable loss in melting — 3 per cent at the
very least, and. sometimes as, much as 10.
This is due to the large proportion of
zinc, and it is evident that, in conse-
quence of it, the nature of the alloy will
be different from what might be expected
from the quantities of metals used in its
manufacture.

It has been remarked that slight vari-
ations in composition quickly change
the color of the alloy. The following
table gives a series of alloys of different
colors, suitable for statuary bronze:

Cop-
per

Zinc

Tin

Color

I..

84.42

11.28

4.30

Reddish yellow

II...

84.00

11.00

5.00

Orange red

III...

83.05

13.03

3.92

Orange red

IV...

83.00

12.005.00

Orange red

V...

81.05

15.32 3.63 Orange yellow

VI...

81.00

15.00

4.00 Orange yellow

VII...

78.09

18.47

3.44 Orange yellow

VIII...

73.58

23.273.15

Orange yellow

IX... 73.00

23.004.00

Pale orange

X...

70.36

26.882.76

Pale yellow

XI...

70.00

27.003.00

Pale yellow

XII... 65.95

31.56

2.49

Pale yellow

ALLOYS

Perhaps the most satisfactory bronze
metal is the alloy used in France for more
than a century. It contains 91.60 per
cent of copper, 5.33 per cent of zinc, 1.70
per cent of tin, and 1.37 per cent of lead.
Somewhat more zinc is taken for articles
to be gilded.

Bismuth Bronze. — Copper, 52 parts;
nickel, 30 parts; zinc, 12 parts; lead, 5
parts; bismuth, 1 part. For metallic
mirrors, lamp reflectors, etc.

Gun Bronze. — See Phosphor Bronze
under this title.

Japanese Bronzes. — The formulas given
below contain a large percentage of lead,
which greatly improves the patina. The in-
gredients and the ratio of their parts for sev-
eral sorts of modern Japanese bronze follow:

I.— Copper, 81.62 per cent; tin, 4.61
per cent; lead, 10.21 per cent.

II.— Copper, 76.60 per cent; tin, 4.38
per cent; lead, 11.88 per cent; zinc, 6.53
per cent.

III.— Copper, 88.55 per cent; tin, 2.42
per cent; lead, 4.72 per cent; zinc, 3.20
per cent.

Sometimes a little antimony is added
just before casting, and such a composi-
tion would be represented more nearly
by this formula:

IV.— Copper, 68.25 per cent; tin, 5.47
per cent; zinc, 8.88 per cent; lead, 17.06
per cent; antimony, 0.34 per cent.

For imitation Japanese bronze, see
Plating under Bronzing.

Machine Bronze. — I. — Copper, 89 per
cent; tin, 11 per cent.

II. — Copper, 80 per cent; tin, 16 per
cent.

Phosphor Bronze. — Phosphor bronze
is bronze containing varying amounts
of phosphorus, from a few hundredths
of 1 per cent to 1 or 2 per cent. Bronze
containing simply copper and tin is very
liable to be defective from the presence
of oxygen, sulphur, or occluded gases.
Oxvgen causes the metal to be spongy
and weak. Sulphur and occluded gases
cause porosity. ^ Oxygen gets " into the
metal by absorption from the air. It can
be eliminated by adding to the metal
something which combines with the oxy-
gen and then fluxes off. Such deoxidizers
are zinc, antimony, aluminum, man-
ganese, silicon, and phosphorus. Sul-
phur and occluded gases can be elimi-
nated by melting the metal, exposing it to
the air, and letting it thus absorb some
oxygen, which then burns the sulphur
and gas. The oxygen can then be re-
moved by adding one of the above-
mentioned deoxidizers. The important
use of phosphorus in bronze is, there-

fore, to remove oxygen and also indirect-
ly to destroy occluded gas and sulphur.

A bronze is sometimes made with an
extra high percentage of phosphorus,
namely, 6 per cent. This alloy is made
so as to have phosphorus in convenient
form for use, and the process of manu-
facture is as follows: Ninety pounds
of copper are melted under charcoal in
a No. 70 crucible, which holds about
200 pounds of metal when full; 11
pounds of tin are added and the metal is
allowed to become hot. The crucible is
then removed from the furnace and 7
pounds of phosphorus are introduced
in the following manner: A 3-gallon
stone jar, half full of dilute solution
of blue vitriol, is weighed. Then the
weights are increased 7 pounds, and
phosphorus in sticks about 4 inches
long is added till the scales balance
again. The phosphorus is left in this
solution half an hour or longer, the phos-
phorus being given a coating of copper,
so that it may be dried and exposed to
the air without igniting. Have ready
a pan about 30 inches square and 6
inches deep, containing about 2 inches of
water. Over the water is a wire netting,
which is laid loose on ledges or supports
along the inner sides of the pan. On the
netting is blotting paper, and on this the
phosphorus is laid to dry when taken
out of the blue-vitriol solution.. The pan
also has a lid which can be put down in
case of ignition of the phosphorus.

The phosphorus is now ready for
introduction into the metal. This is
done by means of a cup-shaped instru-
ment called a retort or phosphorizer.
One man holds the retort on the rim of
the crucible in a horizontal position. A
second man takes about three pieces of
phosphorus and throws them into the
retort. The first man then immediately
plunges the mouth of the retort below
the surface of the metal before the phos-
phorus has a chance to fall or flow out.
Of course the phosphorus immediately
melts and also Tbegins to volatilize. As
the phosphorus comes in contact with
the metal, it combines with it. This
process is continued till all the 7 pounds
of phosphorus has been put into the metal.
The metal is then poured into slabs about
3 inches by 4 inches by 1 inch thick. The
metal is so hard that a greater thickness
would make it difficult to break it up.
When finished, the metal contains, by
analysis, 6 per cent of phosphorus. When
phosphorus is to be added to metal, a
little of this hardener is employed. ^

Copper is a soft, ductile metal, with its
melting point at about 2,000° F. Mol-

ALLOYS

ten copper has the marked property of
absorbing various gases. Jt is for this
reason that it is so difficult to make sound
castings of clear copper. Molten copper
combines readily with the oxygen of the
air, forming oxide of copper, which dis-
solves in the copper and mixes homo-
geneously with it.

A casting made from such metal would
be very spongy. The bad effect of oxy-
gen is intended to be overcome by adding
zinc to the extent of 1 per cent or more.
This result can be much more effectively
attained by the use of aluminum, man-
ganese, or phosphorus. The action of
these substances is to combine with the
oxygen, and as the product formed sepa-
rates and goes to the surface, the metal
is left in a sound condition. Aluminum
and manganese deoxidize copper and
bronze very effectively, and the oxide
formed goes to the surface as a scum.
When a casting is made from such metal,
the oxide or scum, instead of freeing it-
self from the casting perfectly, generally
remains in the top part of the casting
mixed with the metal, as a fractured
surface will show. Phosphorus deox-
idizes copper, and the oxide formed
leaves the metal in the form of a gas, so
that a casting made from such metal
shows a clean fracture throughout, al-
though the metal is not so dense as when
aluminum or manganese is used.

Copper also has the property of ab-
sorbing or occluding carbon monoxide.
But the carbonic oxide thus absorbed
is in a different condition from the oxy-
gen absorbed. When oxygen is ab-
sorbed by copper, the oxygen combines
chemically with the copper and loses its
own identity as a gas. But when coal
gas is absorbed by the copper, it keeps
its own physical identity and simply ex-
ists in the copper in a state of solution.
All natural waters, such as lake water,
river water, spring water, etc., contain
air in solution or occlusion. When such
water is cooled and frozen, just at the
time of changing from the liquid to the
solid state, the dissolved gas separates
and forms air bubbles, which remain
entangled in the ice. The carbonic
oxide which is dissolved or occluded in
copper acts in exactly the same way.

Hydrogen acts in exactly the same
manner as carbonic oxide. Sulphur also
has a bad effect upon copper and bronze.
Sulphur combines with copper and other
metals, forming sulphide of copper, etc.
When molten copper or bronze contain-
ing sulphur comes in contact with air it
absorbs some oxygen, and this in turn
combines with the sulphur present,

forming sulphur dioxide, which is a gas
which remains occluded in the metal.

Tin is a soft, white metal, melting at
440° F. Toward gases it acts something
like copper, but not in so marked a de-
gree. Although^copper and tin are both
soft, vet when mixed they make a harder
metal. When bronze cools from the
molten state, the copper and the copper-
tin alloy tend to crystallize by themselves.
The quicker the cooling occurs the less
separation will there be, and also the
fracture will be more homogeneous in ap-
pearance.

Gun bronze contains copper and tin
in the proportion of 9 or 10 parts of
copper to 1 of tin. This is the metal
used when an ordinary bronze casting
is wanted. A harder bronze is copper
and tin in the ratio of 6 to 1. This is
often used as a bearing metal. When
either of these metals is to be turned in
the machine shop, they should contain
about 3 per cent of lead, which will make
them work very much better, but it also
decreases their tensile strength. Bear-
ing metal now generally contains about
10 per cent of lead, with copper and tin
in varying ratios. The large percentage
of lead is put in that the metal may wear
away slower. Lead, although a metal
having properties similar to tin, acts en-
tirely different toward copper. Copper
and tin have a good deal of affinity fo?
each other, but copper and lead show
no attraction at all for each other. Cop-
per and tin mix in all proportions, but
copper and lead mix only to a very limit-
ed extent. About 3 per cent of lead can
be mixed with copper. With bronze
about 15 per cent to 20 per cent of lead
can be mixed. In bearing bronze the
lead keeps its own physical properties,
so that the constituent lead melts long
before the metal attains a red heat. It
sometimes happens when a bearing runs
warm that the lead actually sweats out
and forms pimples on the metal. Or,
sometimes, in remelting a bearing bronze
casting the lead may be seen to drop
out while the metal is warming up. All
of these metals, however, should contain
something to flux or deoxidize them,
such as zinc, manganese, aluminum,
silicon, antimony, or phosphorus.

The phosphor bronze bearing metal in
vogue has the following composition : Cop-
per, 79.7 per cent; tin, 10 per cent; lead,
10 percent; and phosphorus, 0.3 per cent.

Melt 140 pounds of copper in a No.
70 pot, covering with charcoal. When
copper is all melted, add 17i pounds of
tin to 17i pounds of lead, and allow the
metal to become sufficiently warm, but

ALLOYS

not any hotter than is needed. Then
add 10 pounds of "hardener" (made as
previously described) and stir well. Re-
move from furnace, skim off the char-
coal, cool the metal with gates to as low
a temperature as is consistent with get-
ting a good casting, stir well again, and
pour. The molds for this kind of work
are faced with plumbago.

There are several firms that make
phosphor-bronze bearings with a com-
position similar to the above one, and
most of them, or perhaps all, make it by
melting the metals and then charging
with phosphorus to the extent of 0.7 to
1 per cent. But some metal from all
brands contains occluded gas. So that
after such metal is cast (in about two
minutes or so) the metal will ooze or
sweat out through the gate, and such a
casting will be found to be porous. But
not one such experience with metal made
as described above has yet been found.

This practical point should be heeded,
viz., that pig phosphor bronze should be
brought to the specifications that the
metal should have shrunk in the ingot
mold in cooling, as shown by the con-
cave surface of the upper side, and that
it should make a casting in a sand mold
without rising in the gate after being
poured.

In bearing metal, occluded gas is very
objectionable, because the gas, in trying
to free itself, shoves the very hard cop-
per-tin compound (which has a low
melting point and remains liquid after
the copper has begun to set) into spots,
and thus causes hard spots in the metal.

Phosphorus is very dangerous to han-
dle, and there is great risk from fire with
it, so that many would not care to handle
the phosphorus itself. But phosphor
copper containing 5 per cent of phos-
phorus, and phosphor tin containing 2 to
7 per cent of phosphorus, and several
other such alloys can be obtained in the
market. It may be suggested to those
who wish to make phosphor bronze, but
do not want to handle phosphorus itself,
to make it by using the proper amounts
of one of these high phosphorus alloys.
In using phosphorus it is only necessary
to use enough to thoroughly deoxidize
the metal, say 0.3 per cent. More than
this will make the metal harder, but not
any sounder.

Phosphor bronze is not a special kind
of alloy, but any bronze can be made
into phosphor bronze; it is, in fact, sim-
ply a -deoxidized bronze, produced under
treatment with phosphorus compounds.

Although the effect of phosphorus in
improving the quality of bronze has been

known for more than fifty years, it is only
of late that the mode for preparing phos-
phor bronze has been perfected. It is
now manufactured in many localities.
Besides its action in reducing the oxides
dissolved in the alloy, the phosphorus
exerts another very material influence
upon the properties of the bronze. The
ordinary bronzes consist of mixtures in
which the copper is really the only crys-
tallized constituent, since the tin crys-
tallizes with great difficulty. As a con-
sequence of this dissimilarity in the na-
ture of the two metals, the alloy is not
so solid as it would be if both were crys-
tallized. The phosphorus causes the
tin to crystallize, and the result is a more
homogeneous mixture of the two metals.

If enough phosphorus is added, so
that its presence can be detected in the
finished bronze, the latter may be con-
sidered an alloy of crystallized phosphor
tin with copper. If the content of phos-
phor is still more increased, a part of the
copper combines with the phosphorus,
and the bronze then contains, besides
copper and tin, compounds of crystal-
lized copper phosphide with phosphide
of tin. The strength and tenacity of the
bronze are not lessened by a larger
amount of phosphorus, and its hardness
is considerably increased. Most phos-
phor bronzes are equal in this respect to
the best steel, and some even surpass it
in general properties.

The phosphorus is added to the bronze
in the form of copper phosphide or phos-
phide of tin, the two being sometimes
used together. They must be specially
prepared for this purpose, and the best
methods will be here given. Copper
phosphide is prepared by heating a mix-
ture of 4 parts of superphosphate of lime,
2 parts of granulated copper, and 1 part
of finely pulverized coal in a crucible at a
temperature not too high. The melted
copper phosphide, containing 14 per cent
of phosphorus, separates on the bottom
of the crucible.

Tin phosphide is prepared as follows:
Place a bar of zinc in an aqueous solution
of tin chloride. The tin will be separated
in the form of a sponge-like mass. Col-
lect it, and put it into a crucible, upon
the bottom of which sticks of phosphorus
have been placed. Press the tin tightly
into the crucible, and expose to a gentle
heat. Continue the heating until flames
of burning phosphorus are no longer
observed on the crucible. The pure tin
phosphide, in the form of a coarsely
crystalline mass, tin-white in color, will
be found on the bottom of the crucible.

To prepare the phosphor bronze, the

ALLOYS

alloy to be treated is melted in the usual
way, and small pieces of the copper phos-
phide and tin phosphide are added.

Phosphor bronze, properly prepared,
has nearly the same melting point as that
of ordinary bronze. In cooling, how-
ever, it has the peculiarity of passing
directly from the liquid to the solid state,
without first becoming thickly fluid. In
a melted state it retains a perfectly bright
surface, while ordinary bronze in this
condition is always covered with a thin
film of oxide.

If phosphor bronze is kept for a long
time at the melting point, there is not
any loss of tin, but the amount of phos-
phorus is slightly diminished.

The most valuable properties of phos-
phor bronze are its extraordinary te-
nacity and strength. It can be rolled,
hammered, and stretched cold, and its
strength is nearly double that of the best
ordinary bronze. It is principally used
in cases where great strength and power
of resistance to outward influences are re-
quired, as, for instance, in objects which
are to be exposed to the action of sea water.

Phosphor bronze containing about 4
per cent of tin is excellently well adapted
for sheet bronze. With not more than 5
per cent of tin, it can be used, forged,
for firearms. Seven to 10 per cent of
tin gives the greatest hardness, and such
bronze is especially suited to the manu-
facture of axle bearings, cylinders for
steam fire engines, cogwheels, and, in
general, for parts of machines where
great strength and hardness are required.
Phosphor bronze, if exposed to the air,
soon becomes covered with a beautiful,
closely adhering patina, and is therefore
well adapted to purposes of art. The
amount of phosphorus added varies
from 0.25 to 2.5 per cent, according to
the purpose of the bronze. The com-

position of a number of kinds of phos-
phor bronze is given below:

Cop-
per

Tin

Zinc

Lead

Iron

Phos-
pho-
rus

I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.

85.55

77.85
72.50
73.50
74.50
83.50
90.34
90.86
94.71

9.85
4-15
4-15
11.00
8.00
6.00
11.00
8.00
8.90
8.56
4.39

3.77

8-20
7.65
17.00
19.00
11.00
3.00

0.62
4-15
4-15

trs.

0.05
0.5-3
.25-2

0.76
0.196
0.053

I for axle bearings, II and III for
harder and softer axle bearings, IV to
VIII for railroad purposes, IV especially
for valves of locomotives, V and VI axle
bearings for wagons, VII for connecting
rods, VIII for piston rods in hydraulic
presses.

Steel Bronze.— Copper, 60; ferro-
manganese (containing 70 to 80 per cent
manganese), 40; zinc, 15.

Silicon Bronze. — Silicon, similarly to
phosphorus, acts as a deoxidizing agent,
and the bronzes produced under its
influence are very ductile and elastic, do
not rust, and are very strong. On ac-
count of these qualities silicon bronze
is much used for telegraph and telephone
wires. The process of manufacture is
similar to that of phosphor bronze; the
silicon is used in the form of copper sili-
cide. Some good silicon bronzes are
as follows:

I II

Copper 97.12 97.37

Tin 1.14 1.32

Zinc l.io 1.27

Silicon 0.05 0.07

Sun Bronze.— The alloy called sun
bronze contains 10 parts of aluminum,
30 to 50 parts of copper, and 40 to 60
parts of cobalt. The mixture known by
the name of metalline has 25 per cent of
aluminum, 30 of copper, 10 of iron, and
35 of cobalt. These alloys melt at a point
approaching the melting point of copper,
are tenacious, ductile, and very hard.

Tobin Bronze.— This alloy is nearly
similar in composition and properties to
Delta metal.

59.00
38.40
2.16
0.11
0.31

III

61.20
37.14
0.90
0.18
0.35

82.67
3.23

12.40
0.10
2.14
0.07

0.005

Copper. . . 61.203

Zinc 27.440

Tin 0.906

Iron 0.180

Lead 0.359

Silver

Phospho- )
rus $

The alloy marked IV is sometimes
called deoxidized bronze.

Violet-colored bronze is 50 parts cop-
per and 50 parts antimony.

CADMIUM ALLOYS:

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Full text of "Henley's twentieth century forrmulas, recipes and processes, containing ten thousand selected household and workshop formulas, recipes, processes and moneymaking methods for the practical use of manufacturers, mechanics, housekeepers and home workers"

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